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5 STEPS TO A 5 ™
AP English Literature
2019
AP English Literature 2018_FM_i-xx.indd 1 3/1/18 2:43 PM

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™
5 STEPS TO A
2019
Estelle M. Rankin
Barbara L. Murphy
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BIBLIOGRAPHY
CONTENTS
Preface ix
Acknowledgments xi
Credits xii
About the Authors xiii
Introduction: The Five-Step Program xv
STEP 1 Set Up Your Study Program

1 What You Should Know About the AP Literature Exam 3
Background on the Advanced Placement Exam 3
Reasons for Taking the Advanced Placement Exam 4
What You Need to Know About the AP Lit Exam 5
2 How to Plan Your Time 9
Three Approaches to Preparing for the AP Literature Exam 9
Calendars for Preparing for the AP Literature Exam 11
STEP 2 Determine Your Test Readiness

3 The Diagnostic/Master Exam 17
A Walk Through the Diagnostic/Master Exam 17
Diagnostic/Master Exam 19
Afterword 28
STEP 3 Develop Strategies for Success

4 Section I of the Exam: The Multiple-Choice Questions 31
Introduction to the Multiple-Choice Section of the Exam 31
Types of Multiple-Choice Questions 34
Scoring the Multiple-Choice Section 36
Strategies for Answering the Multiple-Choice Questions 37
Answer Sheet for Diagnostic Multiple-Choice Questions 45
The Multiple-Choice Section of the Diagnostic/Master Exam 47
Answers and Explanations 55
5 The Prose Passage Essay 59
Introduction to the Prose Passage Essay 59
Types of Prose Passage Essay Questions 60
Rating the Prose Passage Essay 61
Timing the Essay 62
Working the Prompt 62
Reading and Notating the Prose Passage 63
Writing the Opening Paragraph 67
Writing the Body 69
Sample Student Essays 71
Rating the Student Essays 73
Rapid Review 76
❮ v

vi ❯ Contents
6 The Poetry Essay 77

Introduction to the Poetry Essay 77
Types of Prompts Used for the Poetry Essay 78
Timing and Planning the Poetry Essay 78
Working the Prompt 79
Reading and Notating the Poetry Selection 80
Writing the Opening Paragraph 85
Writing the Body of the Poetry Essay 86
Rapid Review 91
7 The Free-Response Essay 93
Introduction to the Free-Response Essay 93
Types of Free-Response Prompts 95
General Rubrics for the Free-Response Essay 97
Timing and Planning the Free-Response Essay 97
Working the Prompt from the Diagnostic/Master Exam 98
Developing the Opening Paragraph 102
Developing the Body of the Essay 103
Final Comments 107
Rapid Review 107
STEP 4 Review the Knowledge You Need to Score High

Introduction to Review Section 111
8 Comprehensive Review—Prose 113
Introduction to Prose 113
Five Aspects of Every Narrative 114
Types of Novels 119
Literary Terminology 120
Prose Analysis 122
Final Comments 124
Rapid Review 125
9 Comprehensive Review—Poetry 127
Introduction to Poetry 127
The Structure of Poetry 128
Types of Poetry 130
Interpretation of Poetry 143
Poems for Comparison and Contrast 149
Rapid Review 151
STEP 5 Build Your Test-Taking Confidence

Practice Exam 1 155
Section I 157
Section II 167
Answers to Multiple-Choice Questions 170
Rating the Essay Section 173

Contents ❮ vii

Practice Exam 2 183
Section I 185
Section II 195
Answers to Multiple-Choice Questions 199
Rating the Essay Section 202
Appendixes
Suggested Reading Guide 215
Classicism 215
Realism 216
Romanticism 217
Impressionism 218
Expressionism 218
Naturalism 219
General Bibliography 221
Recommended Poets 221
Recommended Authors 221
Glossary 225
Websites 229


BIBLIOGRAPHY
PREFACE
Welcome to our latest revised AP Literature class. As we said in the earlier versions of this
book, we are first and foremost teachers who have taught Advanced Placement to literally
thousands of students who successfully took the AP exam. With this guide, we hope to
share with you what we know as well as what we have learned from our own students.
We see you as a student in our class—only quieter! Our philosophy has always been
NOT to teach only for the AP test. Instead, our goal has always been to develop those
insights, appreciations, and skills that lead to advanced levels of facility with literature and
composition. These are the very same skills which will enable you to do well on the AP
Literature exam. Our aim is to remove your anxiety and to improve your comfort level with
the test. We believe that you are already motivated to succeed; otherwise, you would not
have come this far. And, obviously, you would not have purchased this prep book.
Since you are already in an English class, this book is going to supplement your lit-
erature course readings, analysis, and writing. We are going to give you the opportunity to
practice processes and techniques that we know from experience REALLY WORK! If you
apply the techniques and processes presented in this book, we are confident you can suc-
ceed in both the course and on the exam.
We have listened to comments and suggestions from both instructors and students of
AP English Literature, and keeping their thoughts in mind, this revised text has more inter-
active activities and practice to help hone those skills needed to do well in class and on the
AP Literature exam. In addition, there are special review questions and activities related to
specific chapters that McGraw-Hill has available on its website devoted to the 5 Steps series.
There you can test how well you have internalized the material in the chapter.
Let’s begin.
❮ ix


ACKNOWLEDGMENTS
Our love and appreciation to Allan and to Leah for their constant support and encourage-
ment. Our very special thanks to our professional mentors who have guided us throughout
our careers: Steven Piorkowski and Howard Damon. To the following for their support and
suggestions: Diane Antonucci, Richard Andres, Mary Moran, Mike Thier, Mark Misthal,
Dave Martin, and Edward Stern—thank you.
The authors wish to acknowledge the participation, insights, and feedback provided us
by the following colleagues and students:
Islip High School:
Teacher: Marge Grossgold
Students: Caitlin Rizzo and Katelyn Zawyrucha
Jericho High School:
Teachers: Diane Antonucci, Michael Hartnett
Students: Tara Arschin, Samantha Brody, Jenna Butner, Julie Ivans, Grace Kwak, Ari
Weiss, Erica Ross, David Swidler, and Sherli Yeroushalmi
Massapequa High School:
Teachers: Sue Bruno and Rosemary Verade
Student: Margaretta Dimos
Solomon Schechter School:
Teachers: Dennis Young and Miriam Fischer
Students: Yadin Duckstein, Ari Lucas, and Jonathan Kotter
Wantagh High School:
Teachers: Sherry Skolnick and Pat Castellano
Student: Lauren Manning
Also, our thanks to Danielle Tumminio and Andrew Brotman.
❮ xi

CREDITS
From AS I LAY DYING by William Faulkner, copyright © 1930 and renewed 1958 by
William Faulkner. Used by permission of Random House, Inc.
“To David, About His Education,” by Howard Nemerov, from VOICES: THE 6th BOOK
edited by Geoffrey Summerfield, published by Rand McNally and Company, Chicago,
1969. Used by permission of Margaret Nemerov.
“The Flowers” from IN LOVE & TROUBLE: STORIES OF BLACK WOMEN,

copyright © 1973 by Alice Walker. Reprinted by permission of Harcourt, Inc.
“To a Friend Estranged from Me” by Edna St. Vincent Millay. From COLLECTED
POEMS, HarperCollins. Copyright © 1928, 1955 by Edna St. Vincent Millay and Norma
Millay Ellis. All rights reserved. Reprinted by permission of Elizabeth Barnett, literary
executor.
From THE GOLD CELL by Sharon Olds, copyright © 1987 by Sharon Olds. Used by
permission of Alfred A. Knopf, a division of Random House, Inc.
“Love Poem” by John Frederick Nims. From SELECTED POEMS BY JOHN F. NIMS,
University of Chicago Press. Copyright © 1982 by John F. Nims. Reprinted by permission
of Bonnie Larkin Nims.
“The Naked and the Nude,” by Robert Graves, from COMPLETE POEMS by Robert
Graves. Used by permission of Carcanet Press Limited, Manchester, England. On behalf of
the Trustees of the Robert Graves Copyright Trust.
“Snake,” from THE COMPLETE POEMS OF D. H. LAWRENCE by D. H. Lawrence,

Viking Press, 1964. Used by permission of Laurence Pollinger Limited and the Estate of
Frieda Lawrence Ravagli.
“The Writer” from THE MIND-HEALER, copyright © 1971 by Richard Wilbur.

Reprinted by permission of Harcourt, Inc.
xii ❯

ABOUT THE AUTHORS
Estelle M. Rankin taught AP Literature at Jericho High School for over 25 years. She was
honored with the AP Literature Teacher of the Year award by the College Board in 1996.
She also received the Long Island Teacher of the Year award in 1990. She was the recipient
of the Cornell University Presidential Scholars’ Award and has been recognized by the C.W.
Post Master Teachers Program.
Ms. Rankin earned her B.A. from Adelphi University and her M.A. from Hofstra
University. She has pursued further graduate work in the field of creative studies at Queens
College and Brooklyn College.
She has done extensive work in the research and development of the film, drama, and
creative writing curriculum, SAT prep, and the new NYS Regents benchmarks for English,
and has participated in numerous AP Literature conferences and workshops. Ms. Rankin is
currently a College Board consultant for pre-AP and AP English. Her finest teachers were
her parents, Edward and Sylvia Stern.
Barbara L. Murphy taught AP Language and other college-level courses at Jericho High
School for over 26 years. She has been a reader of the AP Language and Composition exam
since 1993 and is a consultant for the College Board’s AP Language and Composition and
Building for Success divisions, for which she has conducted workshops, conferences, and
Summer Institutes. She is currently on the faculty of Syracuse University’s Project Advance
in English.
After earning her B.A. from Duquesne University and her M.A. from the University
of Pittsburgh, Ms. Murphy did her doctoral course work at Columbia University. She also
holds professional certifications in still photography and motion picture production and is
one of the founding members of the women’s film company Ishtar Films.
Ms. Rankin and Ms. Murphy are also the coauthors of McGraw-Hill’s 5 Steps to a 5:
AP English Language, Writing the AP English Essay, and Writing an Outstanding College
Application Essay.
❮ xiii


INTRODUCTION:
THE FIVE-STEP PROGRAM
Some Basics
Consider this section as a map of the new territory you are going to explore. We will provide
the general directions, and you can decide when, where, and how you will follow this map.
Reading
We believe that reading should be an exciting interaction between you and the writer. You
have to bring your own context to the experience, and you must feel comfortable reaching
for and exploring ideas. You are an adventurer on a journey of exploration, and we will act
as your guides. We will set the itinerary, but you will set your own pace. You can feel free
to “stop and smell the roses” or to explore new territory.
The Journey
On any journey, each traveler sees something different on new horizons. So, too, each stu-
dent is free to personalize his or her own literary experience, provided he or she tries at all
times to strive for excellence and accuracy.
Critical Thinking
There are no tricks to critical thinking. Those who claim to guarantee you a score of 5 with
gimmicks are doing you a disservice. No one can guarantee a 5; however, the reading and
writing skills you will review, practice, and master will give you the very best chance to do
your very best. You will have the opportunity to learn, to practice, and to master the critical
thinking processes that can empower you to achieve your highest score.
The Beginning
It is our belief that if you focus on the beginning, the rest will fall into place. Once you
purchase this book and decide to work your way through it, you are beginning your jour-
ney to the AP Literature exam. We will be with you every step of the way.
Why This Book?

We believe we have something unique to offer you. For over 25 years we have addressed the
needs of AP students just like you. And we’ve been fortunate to learn from these students.
Therefore, the content of this book reflects genuine student concerns and needs. This is a
student-oriented book. We will not overwhelm you with pompous language, mislead you
with inaccurate information and tasks, or lull you into a false sense of confidence with easy
shortcuts. We stand behind every suggestion, process, and question we present. There is no
“busywork” in this book.
❮ xv

xvi ❯ Introduction: The Five-Step Program
We know you will not do every activity. Therefore, think of this book as a resource and
guide to accompany you on your AP Literature journey to the exam. This book is designed
to serve many purposes. It will:
• Clarify requirements for the AP English Literature exam.
• Provide you with test practice.
• Show you rubrics (grading standards) on which you can model and evaluate your own work.
• Anticipate and answer your questions.
• Enrich your understanding and appreciation of literature.
• Help you pace yourself.
• Make you aware of the Five Steps to Mastering the AP English Literature exam.
Organization of the Book

We know that your primary concern is to obtain information about the AP Literature
exam. So, we begin at the beginning with an overview of the AP exam in general. We then
introduce you to our Diagnostic/Master exam, which we use throughout the book to show
you the ins and outs of an AP Literature test. In separate chapters you will become familiar
with both sections of the exam. We will lead you through the multiple-choice questions and
explain how you should answer them. Then we will take you through the essay questions
and discuss approaches to writing these essays.
Because you must be fluent in the language and processes of literary analysis and com-
position, we provide a Comprehensive Review section in both prose and poetry. This review
is not a mere listing of terms and concepts. Rather, it is a series of practices that will hone
your analytical and writing skills. But, do not fear. You will find terms and concepts clearly
delineated within their contexts. We also provide annotated suggestions for high-interest
prose and poetry readings.
A separate section of the book contains practice exams. Here is where you will test
your skills and knowledge. You may be sure that the prose and poetry selections included
in each exam are on the AP level. The multiple-choice questions provide you with practice
in responding to typical types of questions asked in past AP exams. The essay questions are
designed to cover the techniques and terms required by the AP exam. The free-response
essays are both challenging and specific, yet they are broad enough to suit all curricula. After
taking each test, you can check yourself against the explanations of every multiple-choice
question and the ratings of the sample student essays.
The final section is one that you should not pass over. It presents a Suggested Reading
Guide, a General Bibliography, a Glossary of Terms that may be of importance to you, and
a list of websites related to the AP Literature exam.
Introduction to the Five-Step Preparation Program

The Five-Step Program is a powerful program designed to provide you with the best
possible skills, strategies, and practice to help lead you to that perfect 5 on the Advanced
Placement English Literature exam that is administered each May to more than 350,000
high school students. Each of the five steps will provide you with the opportunity to get
closer and closer to the 5, which is the gold medal to all AP students.

Introduction: The Five-Step Program ❮ xvii
Step 1: Set Up Your Study Program

• Useful information about the Advanced Placement program and exams
• Three alternative study schedules and advice for determining which is best for you
Step 2: Determine Your Test Readiness

• A first look at the overall exam, to be repeated in greater detail later
Step 3: Develop Strategies for Success

• Learn about the test itself
• Learn to read multiple-choice questions
• Learn how to answer multiple-choice questions, including whether or not to guess
• Learn how to deconstruct the essay prompts
• Learn how to plan the essay
Step 4: Review the Knowledge You Need to Score High

• Practice activities that will hone your skills in close reading
• Practice activities in critical thinking
• Practice activities in critical/analytical writing
Step 5: Build Your Test-Taking Confidence

• Two practice exams that test how well honed your skills are
• Rubrics for self-evaluation
Finally, at the back of the book you’ll find additional resources to aid your preparation.
These include:
• A comprehensive review of literary analysis
• A glossary of terms
• A bibliography for further reading
• A list of websites related to the AP English Literature exam
The Graphics Used in This Book

To emphasize particular skills and strategies, we use several icons throughout this book. An
icon in the margin will alert you that you should pay particular attention to the accompa-
nying text. We use three icons:
KEY IDEA
This icon points out a very important concept or fact that you should not pass over.
This icon calls your attention to a problem-solving strategy that you may want to try.
STRATEGY
This icon indicates a tip that you might find useful.

TIP

xviii ❯ Introduction: The Five-Step Program
Boldfaced and italicized words indicate important terms as well as those that are
included in the Glossary at the back of the book.
Throughout the book you will find margin notes and boxes. We want you to pay close
attention to these areas because they can provide tips, hints, strategies, and explanations
that will help you reach your full potential.

5 STEPS TO A 5 ™
2019


STEP 1
Set Up Your Study Program
CHAPTER 1 What You Should Know About the AP Literature Exam
How to Plan Your Time
CHAPTER 2
AP English Literature 2018_CHAP_001-212.indd 1 30/06/17 10:06 am


CHAPTER
1
What You Should Know About
the AP Literature Exam
IN THIS CHAPTER
Summary: Information about the AP English Literature and Composition
exam and its scoring
KEY IDEA Key Ideas

✪ Learn answers to frequently asked questions
✪ Learn how your final score is calculated
✪ Learn tips for successfully taking the exam
Background on the Advanced Placement Exam

“AP” does not stand for “Always Puzzling.” The following should help lift the veil of
mystery associated with the AP exam.
What Is the Advanced Placement Program?

The Advanced Placement program was begun by the College Board in 1955 to construct
standard achievement exams that would allow highly motivated high school students the
opportunity to be awarded advanced placement as freshmen in colleges and universities in the
United States. Today, there are more than 37 courses and exams with over two million students
from every state in the nation, and from foreign countries, taking the annual exams in May.
As is obvious, the AP programs are designed for high school students who wish to
take college-level courses. The AP Literature course and exam are designed to involve high
school students in college-level English studies in both literature and composition.
❮ 3

4 ❯ STEP 1. Set Up Your Study Program
Who Writes the AP Literature Exam?

According to the folks at the College Board, the AP Literature exam is created by col-
lege and high school English instructors called the AP Development Committee. The
committee’s job is to ensure that the annual AP Literature exam reflects what is being taught
and studied in college-level English classes in high schools.
This committee writes a large number of multiple-choice questions that are pretested
and evaluated for clarity, appropriateness, and a range of possible answers. The committee
also generates a pool of essay questions, pretests them, and chooses those questions that best
represent the full range of the scoring scale to allow the AP readers to evaluate the essays
fairly.
It is important to remember that the AP Literature exam is thoroughly evaluated after
it is administered each year. This way, the College Board can use the results to make course
suggestions and to plan future tests.
What Are the Advanced Placement Scores, and Who Receives Them?
Once you have taken the exam and it has been scored, your test will be assigned one of five
numbers by the College Board:
• 5 indicates you are extremely well qualified.
• 4 indicates you are well qualified.
• 3 indicates you are qualified.
• 2 indicates you are possibly qualified.
• 1 indicates you are not qualified to receive college credit.
A score of 5, 4, 3, 2, or 1 will be reported to your college or university first, to your
high school second, and to you third. All this reporting is usually completed by the middle
to end of July.
Reasons for Taking the Advanced Placement Exam

At some point during the year, every AP student asks the ultimate question: Why am I
taking this exam?
Good question. Why put yourself through a year of intensive study, pressure, stress, and
preparation? To be honest, only you can answer that question. Over the years, our students
have indicated to us that there are several prime reasons why they were willing to take the
risk and to put in the effort:
• For personal satisfaction
• To compare themselves with other students across the nation
• Because colleges look favorably on the applications of students who elect to enroll in
AP courses
• To receive college credit or advanced standing at their colleges or universities
• Because they love the subject
• So that their families will really be proud of them
There are plenty of other reasons, but no matter what the other reasons might be, the
top reason for your enrolling in the AP Lit course and taking the exam in May should be
to feel good about yourself and the challenges you have met.

What You Should Know About the AP Literature Exam ❮ 5
What You Need to Know About the AP Lit Exam

Let’s answer a few of the nitty-gritty questions about the exam and its scoring.
If I Don’t Take an AP Lit Course, Can I Still Take the AP Lit Exam?
Yes. Even though the AP Lit exam is designed for the student who has had a year’s course
in AP Literature, there are high schools that do not offer this type of course, yet there are
students in these high schools who have also done well on the exam. However, if your high
school does offer an AP Lit course, by all means take advantage of it and the structured
background it will provide you.
How Is the Advanced Placement Literature Exam Organized?

The exam has two parts and is scheduled to last 3 hours. The first section is a set of
multiple-choice questions based on a series of prose passages and poems. You will have
1 hour to complete this part of the test. The second section of the exam is a 2-hour essay-
writing segment consisting of three different essays: one on prose, one on poetry, and one
free-response based on a major work of literary complexity.
After you complete the multiple-choice section and hand in your test booklet and
scan sheet, you will be given a brief break. Note that you will not be able to return to the
multiple-choice questions when you return to the examination room.
Must I Check the Box at the End of the Essay Booklet That Allows
the AP People to Use My Essays as Samples for Research?
No. This is simply a way for the College Board to make certain that it has your permission
if it decides to use one or more of your essays as a model. Checking the box will not affect
your grade.
How Is My AP Lit Exam Scored?

Let’s look at the basics first. The multiple-choice section counts for 45 percent of your total
score, and the essay section counts for 55 percent. Next comes a four-part calculation: the
raw scoring of the multiple-choice section, the raw scoring of the essay section, the calcula-
tion of the composite score, and the conversion of the composite score into the AP grade
of 5, 4, 3, 2, or 1.
How Is the Multiple-Choice Section Scored?

The scan sheet with your answers is run through a computer that counts the number of
correct answers. Questions left blank and questions answered incorrectly are treated the
same and get no points. There is no longer a “guessing penalty,” which formerly involved
the deduction of a fraction of a point for answering a question but getting it wrong.
How Is My Essay Section Scored?

Each of your essays is read by a different, trained AP reader. The AP/College Board people
have developed a highly successful training program for these readers. This factor, together
with many opportunities for checks and double checks of essays, ensures a fair and equita-
ble reading of each essay.

The scoring guides are carefully developed by a chief faculty consultant, a question
leader, table leaders, and content experts. All faculty consultants are then trained to read
and score just one essay question on the exam. They actually become experts in that one
essay question. No one knows the identity of any writer. The identification numbers and
names are covered, and the exam booklets are randomly distributed to the readers in packets
of 25 randomly chosen essays. Table leaders and the question leader review samples of each
reader’s scores to ensure that quality standards are consistent.
Each essay is scored as 9, 8, 7, 6, 5, 4, 3, 2, or 1, plus 0, with 9 the highest possible
score. Once your essay is given a number from 9 to 1, the next set of calculations is com-
pleted. Here, if there are 27 possible points divided into 55 percent of the total possible
score, each point awarded is given a value of 3.055. The formula looks something like this:
(pts. × 3.055) + (pts. × 3.055) + (pts. × 3.055) = essay raw score
Essay 1 Essay 2 Essay 3
How Is My Composite Score Calculated?

The total composite score for the AP Lit test is 150. Of this score, 55 percent is the essay
section; that equals 82.5 points. The multiple-choice section is 45 percent of the composite
score, which equals 67.5 points. Each of your three essays is graded on a 9-point scale;
therefore, each point is worth 3.055. Divide the number of multiple-choice questions by
67.5. For instance, if there were 55 questions, each point of the raw score would be mul-
tiplied by 1.227.
If you add together the raw scores of each of the two sections, you will have a composite
score. We provide practice with this process in the two practice exams in this book.
“Over the years, How Is My Composite Data Turned into the Grade
in comparison to That Is Reported to My College?
students who fight
the material, I’ve Keep in mind that the total composite scores needed to earn a 5, 4, 3, 2, or 1 are different
found students who each year. This is determined by a committee of AP/College Board/Educational Testing
receive the 4s and 5s Service directors, experts, and statisticians. The score is based on items such as:
are those who truly
allow themselves
• AP distribution over the past three years
to relate to the • Comparability studies
literature covered • Observations of the chief faculty consultant
in the class.” • Frequency distributions of scores on each section and the essays
—Pat K. • Average scores on each exam section and essays
AP teacher
However, over the years a trend is apparent which indicates the number of points
required to achieve a specific score:
• 150–100 points = 5
• 99–86 = 4
• 85–67 = 3
Scores of 2 and 1 fall below this range. You do not want to go there.
What Should I Bring to the Exam?

You should bring:
• Several pencils with erasers
• Several black pens (black ink is easier to read than other colors)
• A watch

What You Should Know About the AP Literature Exam ❮ 7
• Something to drink—water is best

• A quiet snack
• Tissues
Is There Anything Else I Should Be Aware Of?

You should be aware of the following:
• Allow plenty of time to get to the test site.
• Wear comfortable clothing.
• Eat a light breakfast or lunch.
• Remind yourself that you are well prepared and that the test is an enjoyable challenge
and a chance to share your knowledge. Be proud of yourself! You worked hard all year.
Now is your time to shine.
Is There Anything Special I Should Do the Night Before the Exam?

We certainly don’t advocate last-minute cramming. If you’ve been following the guidelines,
you won’t have to cram. But there may be a slight value to some last-minute review. Spend
the night before the exam relaxing with family or friends. Watch a movie; play a game;
gab on the phone, blog, or Twitter. Then find a quiet spot. While you’re unwinding, flip
through your own notebook and review sheets. Recall some details from the full-length
works you’ve prepared and think of your favorite scenes. By now, you’re bound to be ready
to drift off. Pleasant dreams.


CHAPTER
2
How to Plan Your Time
IN THIS CHAPTER
Summary: Assess your own study patterns and preparation plans.
KEY IDEA Key Ideas

✪ Explore three approaches
✪ Choose a calendar that works for you
Three Approaches to Preparing for the AP Literature Exam

No one knows your study habits, likes, and dislikes better than you do. So you are the only
one who can decide which approach you want and/or need to adopt to prepare for the
Advanced Placement Literature exam. Look at the brief profiles below. These may help you
to place yourself in a particular prep mode.
You’re a full-year prep student (Approach A) if:
1. You’re the kind of person who likes to plan for a vacation or the prom a year in advance.
2. You’d never think of missing a practice session, whether it’s your favorite sport, musical
instrument, or activity.
3. You like detailed planning and everything in its place.
4. You feel you must be thoroughly prepared.
5. You hate surprises.
6. You’re always early for appointments.
❮ 9

You’re a one-semester prep student (Approach B) if:

1. You begin to plan for your vacation or the prom 4–5 months before the event.
2. You are willing to plan ahead so that you will feel comfortable in stressful situations, but
you are okay with skipping some details.
3. You feel more comfortable when you know what to expect, but a surprise or two does
not floor you.
4. You’re always on time for appointments.
You’re a 4–6 week prep student (Approach C) if:
1. You accept or find a date for the prom a week before the big day.
2. You work best under pressure and tight deadlines.
3. You feel very confident with the skills and background you’ve gained in your AP
Literature class.
4. You decided late in the year to take the exam.
5. You like surprises.
6. You feel okay if you arrive 10–15 minutes late for an appointment.

How to Plan Your Time ❮ 11
CALENDARS FOR PREPARING

FOR THE AP LITERATURE EXAM
This is a personal journey, and each of you will have particular time constraints.
Choose the calendar that will work best for you.
Calendar for Approach A:

Yearlong Preparation for the AP Literature Exam
Although its primary purpose is to prepare you for the AP Literature exam you
will take in May, this book can enrich your study of literature, your analytical
skills, and your writing skills.
SEPTEMBER–OCTOBER (Check off the DECEMBER

activities as you complete them.)
Maintain notes on literary works you
Determine the student mode into which studied in and out of class.
you place yourself. Refine your analytical skills.
Carefully read Chapters 1 and 2. Write the prose passage or poetry essay in
Pay close attention to the walk through the Diagnostic/Master exam. (This will
the Diagnostic/Master exam. depend on the organization of your own
Take a close look at the AP Central curriculum.)
website(s). Compare your essay with sample student
Skim the Comprehensive Review section. essays.
Buy a highlighter.
Flip through the entire book. Break in JANUARY (20 weeks have elapsed.)
the book. Write in it. Highlight it.
Get a clear picture of what your own Write the third essay in the Diagnostic/
school’s AP Literature curriculum is. Master exam. (This will depend on the
Review the Bibliography and establish a one you did previously.)
pattern of outside reading in the literary Compare your essay with sample student
genres (pp. 221–223). essays.
Begin to use the book as a resource.
FEBRUARY
NOVEMBER (The first 10 weeks have elapsed.)
Take the multiple-choice section of the
Write the free-response essay in the Diagnostic/Master exam.
Diagnostic/Master exam. Carefully go over the explanations of the
Compare your essay with the sample answers to the questions.
student essays. Score yourself honestly.
Refer to the section on the free-response Make a note of terms, concepts, and types
essay. of questions that give you difficulty.
Take five of our prompts and write solid Review troublesome terms in the Glossary.
opening paragraphs.

MARCH (30 weeks have elapsed.) Practice creating multiple-choice questions

of different types with your study group.
Form a study group. Develop and review worksheets for and
Outline or create a chart for full-length with your study group.
works that would be appropriate for the
free-response essay. MAY—First 2 Weeks (THIS IS IT!)
Choose a favorite poem and create an
essay question to go with it, or use one of Highlight only those things in the
our suggested prompts. Glossary you are still unsure of. Ask your
Choose a prose passage or essay and create teacher for clarification. Study!
an essay question to go with it, or choose Thoroughly prepare three to five com-
one of our suggested prompts. plete, full-length works; include several
Write the poetry essay. quotations that you can work into various
Write the prose essay. responses.
Compare essays and rate them with your Write at least three times a week under
study group. (Use our rubrics.) timed conditions.
Take Practice Test 2.
APRIL Score yourself.
Give yourself a pat on the back for how
Take Practice Test 1 in the first week of much you have learned and improved over
April. the past 9 months.
Evaluate your strengths and weaknesses. Go to the movies. Call a friend.
Study appropriate chapters to correct your Get a good night’s sleep. Fall asleep
weaknesses. knowing you are well prepared.
GOOD LUCK ON THE TEST.

How to Plan Your Time ❮ 13
Calendar for Approach B:

Semester-Long Preparation for the AP Literature Exam
Working under the assumption that you’ve completed one semester of literature
studies, apply those skills you’ve learned to prepare for the May exam.
You have plenty of time to supplement your course work by taking our study
recommendations, maintaining literary notations, doing outside readings, and
so on.
We divide the next 16 weeks into a workable program of preparation for you.
JANUARY–FEBRUARY (Check off the APRIL

activities as you complete them.)
Take Practice Test 1 in the first week
Carefully read Chapters 1 and 2. of April.
Write the three essays in the Diagnostic/ Evaluate your strengths and weaknesses.
Master exam. Study appropriate chapters to correct your
Compare your essays with the sample stu- weaknesses.
dent essays. Practice creating multiple-choice questions
Complete the multiple-choice section of of different types with your study group.
the Diagnostic/Master exam. Develop and review worksheets for and
Carefully go over the answers and with your study group.
explanations of the answers.
Take a close look at the Bibliography for MAY First 2 Weeks (THIS IS IT!)
suggestions on possible outside readings.
Highlight only those things in the
MARCH (10 weeks to go.) Glossary you are still unsure of. Ask your
teacher for clarification. Study!
Form a study group. Thoroughly prepare at least three to five
Outline or create a chart for full-length complete, full-length works; include sev-
works that would be appropriate for the eral quotations that you can work into
free-response essay. various questions.
Choose a favorite poem and create an Write at least three times a week under
essay question to go with it, or use one of timed conditions.
our suggested prompts. Take Practice Test 2.
Choose a prose passage or essay and create Score yourself.
an essay question to go with it, or choose Give yourself a pat on the back for how
one of our suggested prompts. much you have learned and improved over
Write the poetry essay. the past 9 months.
Write the prose essay. Go to the movies. Call a friend.
Compare essays and rate them with your Get a good night’s sleep. Fall asleep
study group. (Use our rubrics.) knowing you are well prepared.
GOOD LUCK ON THE TEST.

“One of the first steps Calendar for Approach C:

to success on the AP 4–6 Week Preparation for the AP Literature Exam
exam is knowing
your own study At this point, we are going to assume that you have been developing your literary,
habits.”
—Margaret R.
analytical, and writing skills in your English class for more than 6 months. You
AP English will, therefore, use this book primarily as a specific guide to the AP Literature
teacher exam.
Remember, there is a solid review section in this text to which you should
refer.
Given the time constraints, now is not the time to try to expand your
AP Literature background. Rather, it is the time to limit and refine what you
already know.
APRIL Create review sheets for three to five solid,

full-length works.
Skim through Chapters 1 and 2. Skim and highlight the Glossary.
Carefully go over the “rapid reviews.” Develop a weekly study group to hear
Strengthen, clarify, and correct areas you each other’s essays and to discuss
are weak in after taking the Diagnostic/ literature.
Master exam.
Write a minimum of three sample open- MAY—First 2 Weeks (THIS IS IT!)
ing paragraphs for each of the three types
of essays. Complete Practice Test 2.
Write a minimum of two timed essays for Score yourself and analyze your errors.
each type of essay on the exam. Refer to appropriate chapters to correct
Complete Practice Test 1. your weaknesses.
Score yourself and analyze your errors. Go to the movies. Call a friend.
Refer to appropriate chapters to correct Get a good night’s sleep. Fall asleep know-
your weaknesses. ing you are well prepared.
Refer to the Bibliography.
If you feel unfamiliar with specific poetic GOOD LUCK ON THE TEST.
forms, refer to the list of suggested, appro-
priate works.

STEP 2
Determine Your Test
Readiness
CHAPTER 3 The Diagnostic/Master Exam


CHAPTER
3
The Diagnostic/Master Exam
IN THIS CHAPTER
Summary: Put yourself to the test with the diagnostic exam.
KEY IDEA Key Ideas

✪ Peruse the multiple-choice section in Section I of the exam
✪ Familiarize yourself with the essays in Section II
A Walk Through the Diagnostic/Master Exam

“You know, from my This chapter presents our version of an Advanced Placement Literature and Composition
experience with AP exam which we use throughout this book to demonstrate processes, examples, terms, and
exams, I’ve learned so on. We call this the Diagnostic/Master exam. You will not be taking this exam at this
never to assume point, but we would like you to “walk through” the exam with us now.
anything.”
—Jeremy G.
The first part of this 3-hour exam is always the multiple-choice section, which lasts
AP student 1 hour. It is related to both prose passages and poetry. The multiple-choice section of the
Diagnostic/Master exam contains two prose passages from different time periods and of
different styles. It also has two poems from different time periods and of different forms.
The multiple-choice questions for each selection were developed to provide you with a wide
range of question types and terminology that have been used in the actual AP Lit exams
over the years.
To begin to know what the exam looks like, take some time to look through the
multiple-choice section of the Diagnostic/Master exam. Do not try to answer the questions;
just peruse the types of passages and questions.
• Take a turn through all of the pages of the test and familiarize yourself with the format.
• See where the longer and shorter readings are.
• See how many prose and poetry passages there are.
❮ 17

18 ❯ STEP 2. Determine Your Test Readiness
• Check the total number of questions and know what you are facing.
• Check out the essay prompts.
A Word About Our Sample Student Essays

We field-tested each of the essay questions in a variety of high schools, both public and
private. We could have chosen to present essays that would have “knocked your socks off,”
but we chose to present samples that are truly representative of the essays usually written
within the time constraints of the exam.
These essays are indicative of a wide range of styles and levels of acceptability. We want
you to recognize that there is not one model to which all essays must conform.
“To Thine Own Self Be True” (Polonius—Hamlet)

“Be true to yourself ” is always the best advice and is especially appropriate for a writer.
Listen to your teacher’s advice; listen to our advice; listen to your own voice. Yours is the
voice we want to “hear” in your writing. Use natural vocabulary and present honest obser-
vations. It is wonderful to read professional criticism, but you cannot adopt someone else’s
ideas and remain true to your own thoughts. Trust your brain—if you’ve prepared well,
you’ll do well.

The Diagnostic/Master Exam ❮ 19
DIAGNOSTIC/MASTER EXAM
Advanced Placement Literature and Composition

Section I
Total time—1 hour
Carefully read the following passages and answer the questions that come after them.
Questions 1–10 are based on the next passage.
Now Goes Under . . .

by Edna St. Vincent Millay
Now goes under, and I watch it go under, the sun
That will not rise again.
Today has seen the setting, in your eyes cold
and senseless as the sea,
Of friendship better than bread, and of bright charity 5
That lifts a man a little above the beasts that run.
That this could be!

That I should live to see
Most vulgar Pride, that stale obstreperous clown,
So fitted out with purple robe and crown 10
To stand among his betters! Face to face
With outraged me in this once holy place,
Where Wisdom was a favoured guest and hunted
Truth was harboured out of danger,
He bulks enthroned, a lewd, and insupportable stranger! 15
I would have sworn, indeed I swore it:

The hills may shift, the waters may decline,
Winter may twist the stem from the twig that bore it,
But never your love from me, your hand from mine.
Now goes under the sun, and I watch it go under. 20

Farewell, sweet light, great wonder!
You, too, farewell—but fare not well enough to dream
You have done wisely to invite the night before the darkness came.
1. The poem is an example of a(n) 2. The setting of the sun is a symbol for
A. sonnet A. the beginning of winter
B. lyric B. encountering danger
C. ode C. the end of a relationship
D. ballad D. facing death
E. dramatic monologue E. the onset of night

3. The second stanza is developed primarily by 7. The reader can infer from the play on words in
A. metaphor the last stanza that the speaker is
B. simile A. dying
C. personification B. frantic
D. hyperbole C. wistful
E. allusion D. bitter
E. capricious
4. “He” in line 15 refers to
A. Wisdom 8. “This once holy place” (line 12) refers to
B. Truth A. the sunset
C. I B. the relationship
D. Pride C. the sea
E. charity D. the circus
E. the Church
5. According to the speaker, what separates man
from beast? 9. The cause of the relationship’s situation is
A. love A. a stranger coming between them
B. friendship B. the lover not taking the relationship
C. charity seriously
D. truth C. the lover feeling intellectually superior
E. wisdom D. the lover’s pride coming between them
E. the lover being insensitive
6. For the speaker, the relationship has been all of
the following except 0. The speaker acknowledges the finality of the
1
A. honest relationship in line(s)
B. dangerous A. 1–2
C. spiritual B. 7
D. ephemeral C. 8
E. nourishing D. 16
E. 18–19
Questions 11–23 are based on the following passage.
The sea-reach of the Thames stretched before us like the beginning of an

interminable waterway. The air was dark above Gravesend, and farther back still
seemed condensed into a mournful gloom, brooding motionless over the biggest and
the greatest town on earth.
“I was thinking of very old times, when the Romans first came here, nineteen 5
hundred years ago—the other day . . . Light came out of this river since—you say knights?
Yes; but it is like a running blaze on a plain, like a flash of lightning in the clouds. We live
in the flicker—may it last as long as the old earth keeps rolling! But darkness was here
yesterday. Imagine the feelings of a commander of a fine—what d’ye call ’em?—trireme
in the Mediterranean, ordered suddenly to the north; run overland across the Gauls in a 10
hurry; put in charge of one of these craft the legionnaires—a wonderful lot of handy men
they must have been, too—used to build, apparently by the hundred, in a month or two, if
we may believe what we read. Imagine him here—the very end of the world, a sea the color
of lead, a sky the color of smoke, a kind of ship about as rigid as a concertina—and going
up this river with stores, or orders, or what you like. Sandbanks, marshes, forests, savages— 15
precious little to eat for a civilized man, nothing but Thames water to drink. No Falernian

wine here, no going ashore. Here and there a military camp lost in a wilderness, like a
needle in a bundle of hay—cold, fog, tempests, disease, exile, and death—death skulking
in the air, in the water, in the bush. They must have been dying like flies here. Oh yes—he
did it. Did it very well, too, no doubt, and without thinking much about it either, except 20
afterwards to brag of what he had gone through in his time, perhaps. They were men enough
to face darkness. And perhaps he was cheered by keeping his eye on a chance of promotion
to the fleet at Ravenna by and by, if he had good friends in Rome and survived the awful
climate. Or think of a decent young citizen in a toga—perhaps too much dice, you know—
coming out here in the train of some prefect, or tax-gatherer, or trader even, to mend his 25
fortunes. Land in a swamp, march through the woods, and in some inland post feel the
savagery, the utter savagery, had closed round him—all that mysterious life of the wilderness
that stirs in the forest, in the jungles, in the hearts of wild men. There’s no initiation either
into such mysteries. He has to live in the midst of the incomprehensible, which is also
detestable. And it has a fascination, too, that goes to work upon him. The fascination of the 30
abomination—you know, imagine the growing regrets, the longing to escape, the powerless
disgust, the surrender, the hate.”
He paused.
“Mind,” he began again, lifting one arm from the elbow, the palm of the hand
outwards, so that, with his legs folded before him, he had the pose of a Buddha preaching in 35
European clothes and without a lotus flower—“Mind, none of us would feel exactly like this.
What saves us is efficiency—the devotion to efficiency. But these chaps were not much
account, really. They were no colonists; their administration was merely a squeeze, and
nothing more, I suspect. They were conquerors, and for that you want only brute force—
nothing to boast of, when you have it, since your strength is just an accident arising from the 40
weakness of others. They grabbed what they could get for the sake of what was to be got. It
was just robbery with violence, aggravated murder on a great scale, and men going at it blind—
as is very proper for those who tackle a darkness. The conquest of the earth, which mostly
means taking it away from those who have a different complexion or slightly flatter noses
than ourselves, is not a pretty thing when you look at it too much. What redeems it is the idea 45
only. An idea at the back of it; not a sentimental pretense but an idea; and an unselfish belief
in the idea—something you can set up, and bow down before, and offer a sacrifice to . . . ”
11. In the passage, darkness implies all of the 3. The tone of the passage is
1
following except A. condescending
A. the unknown B. indignant
B. savagery C. scornful
C. ignorance D. pensive
D. death E. laudatory
E. exploration
4. Later events may be foreshadowed by all of the
1
12. The setting of the passage is following phrases except
A. Africa A. “Imagine the feelings of a commander . . . ”
B. Ancient Rome B. “. . . live in the midst of the
C. the Thames River incomprehensible . . . ”
D. the Mediterranean C. “. . . in some inland post feel the
E. Italy savagery . . . ”
D. “They must have been dying like flies
here.”
E. “. . . the very end of the world . . . ”

15. The narrator draws a parallel between 0. According to the speaker, the one trait which
2
A. light and dark saves Europeans from savagery is
B. past and present A. sentiment
C. life and death B. a sense of mystery
D. fascination and abomination C. brute force
E. decency and savagery D. religious zeal
E. efficiency
16. In this passage, “We live in the flicker . . .”
(lines 7–8) may be interpreted to mean ALL of 21. According to the speaker, the only justification
the following EXCEPT for conquest is
A. In the history of the world, humanity’s A. the “weakness of others”
span on earth is brief. B. it’s being “proper for those who tackle a
B. Future civilizations will learn from only a darkness . . . ”
portion of the past. C. their grabbing “what they could get for the
C. Periods of enlightenment and vision appear sake of what was to be got”
only briefly. D. “. . . an unselfish belief in the idea . . . ”
D. The river has been the source of life E. “The fascination of the abomination”
throughout the ages.
22. In the statement by the speaker, “Mind, none
E. A moment of present-day insight about
of us would feel exactly like this” (line 36),
conquest.
“this” refers to
17. One may conclude from the passage that the A. “. . . a Buddha preaching in European
speaker clothes . . . ” (lines 35–36)
A. admires adventurers B. “. . . imagine the growing regrets . . . the
B. longs to be a crusader hate.” (lines 31–32)
C. is a former military officer C. “What redeems it is the idea only.” (lines
D. recognizes and accepts the presence of evil 45–46)
in human experience D. “. . . think of a decent young citizen in a
E. is prejudiced toga . . . ” (line 24)
E. “I was thinking of very old times . . . ”
8. In the context of the passage, which of the
1
(line 5)
following phrases presents a paradox?
A. “The fascination of the abomination . . .” 3. The speaker presents all of the following
2
B. “. . . in the hearts of wild men” reasons for exploration and conquest except
C. “There’s no initiation . . . into such A. military expeditions
mysteries” B. “. . . a chance of promotion”
D. “. . . a flash of lightning in the clouds” C. “. . . to mend his fortunes . . . ”
E. “. . . death skulking in the air . . . ” D. religious commitment
E. punishment for a crime
9. The lines “Imagine him here . . . concertina . . . ”
1
(lines 13–14) contain examples of
A. hyperbole and personification
B. irony and metaphor
C. alliteration and personification
D. parallel structure and simile
E. allusion and simile

Questions 24–35 are based on the following poem.
That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day 5
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire,
That on the ashes of his youth doth lie, 10
As the deathbed whereon it must expire,
Consum’d with that which it was nourish’d by.
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.
24. “That time of year” (line 1) refers to 28. “This thou perceiv’st” (line 13) refers to
A. youth A. the beloved’s deathbed
B. old age B. the sorrow of unrequited love
C. childhood C. the passion of youth expiring
D. senility D. the beloved’s acknowledgment of the
E. maturity speaker’s mortality
E. the speaker sending the lover away
5. “Death’s second self” (line 8) refers to
2
A. “That time of year” 9. The poem is an example of a(n)
2
B. “sunset fadeth” A. elegy
C. “the west” B. Spenserian sonnet
D. “ruin’d choirs” C. Petrarchan sonnet
E. “black night” D. Shakespearean sonnet
E. sestina
26. Line 12 is an example of
A. paradox 0. The poem is primarily developed by means of
3
B. caesura A. metaphor
C. parable B. argument
D. hyperbole C. synecdoche
E. metonymy D. alternative choices
E. contradiction
27. “Twilight of such day” (line 5) is supported by
all of the following images except 31. The irony of the poem is best expressed in line
A. “sunset fadeth” A. 5
B. “the glowing of such fire” B. 7
C. “west” C. 10
D. “Death’s second self” D. 11
E. “ashes of his youth” E. 12

32. “It” in line 12 can best be interpreted to mean 34. The tone of the poem can best be described as
A. a funeral pyre A. contemplative
B. spent youth B. defiant
C. the intensity of the speaker’s love C. submissive
D. the impending departure of his beloved D. arbitrary
E. the immortality of the relationship E. complaining
3. An apt title for the poem could be
3 5. The speaker most likely is
3
A. Love Me or Leave Me A. jealous of the beloved’s youth
B. Death Be Not Proud B. pleased that the lover will leave
C. The End Justifies the Means C. unable to keep up with the young lover
D. Love’s Fall D. unwilling to face his own mortality
E. Grow Old Along with Me E. responsive to the beloved’s constancy

Poets and Language
by Percy Bysshe Shelley
Poets, according to the circumstances of the age and nation in which they appeared,
were called, in the earlier epochs of the world, legislators, or prophets: a poet essentially
comprises and unites both these characters. For he not only beholds intensely the present
as it is, and discovers those laws according to which present things ought to be ordered, but
he beholds the future in the present, and his thoughts are the germs of the flower and the 5
fruit of latest time. Not that I assert poets to be prophets in the gross sense of the word,
or that they can foretell the form as surely as they foreknow the spirit of events; such is the
pretense of superstition, which would make poetry an attribute of prophecy, rather than
prophecy an attribute of poetry. A poet participates in the eternal, the infinite, and the one;
as far as relates to his conceptions, time and place and number are not. The grammatical 10
forms which express the moods of time, and the difference of persons, and the distinction
of place, are convertible with respect to the highest poetry without injuring it as poetry; and
the choruses of Aeschylus, and the book of Job, and Dante’s Paradise, would afford, more
than any other writings, examples of this fact, if the limits of this essay did not forbid
citation. The creations of sculpture, painting, and music, are illustrations still more decisive. 15
Language, colour, form, and religious and civil habits of action, are all the instruments
and materials of poetry; they may be called poetry by that figure of speech which considers
the effect as a synonym for a cause. But poetry in a more restricted sense expresses those
arrangements of language, and especially metrical language, which are created by that
imperial faculty, whose throne is curtained within the invisible nature of man. And this 20
springs from the nature itself of language, which is a more direct representation of the actions
and passions of our internal being, and is susceptible of more various and delicate
combinations, than colour, form, or motion, and is more plastic and obedient to the control
of that faculty of which it is the creation. For Language is arbitrarily produced by the
imagination, and has relation to thoughts alone; but all other materials, instruments, and 25
conditions of art, have relations among each other, which limit and interpose between
conception and expression. The former is a mirror which reflects the latter as a cloud which
enfeebles, the light of which both are mediums of communication . . .
Poets are the hierophants* of an unapprehended inspiration; the mirrors of the
gigantic shadows which futurity casts upon the present, the words which express what they 30
understand not; the trumpets which sing to battle, and feel not what they inspire; the
influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.
*Hierophants: chief priests, advocates.

36. The passage is an example of 42. According to Shelley, poetry, sculpture, music,
A. the opening of a novel and painting have what characteristic in
B. the opening of an autobiography common?
C. an essay A. They are dependent on one another.
D. an ode B. They rely on grammatical forms.
E. a dramatic monologue C. They are at odds with one another.
D. They are eternal.
37. According to Shelley, a poet is a combination of
E. They can only relate to a specific time and
A. historical figure and patriot
place.
B. artist and priest
C. grammarian and poet 3. In lines 19–20, the phrase “that imperial
4
D. sculptor and musician faculty, whose throne . . . ” refers to
E. lawmaker and seer A. legislators
B. language
38. In lines 5 and 6, “the germs of the flower and
C. synonyms
the fruit of latest time” can best be interpreted
D. nature
to mean
E. poetry
A. the guardian of the future
B. that the poet’s thoughts destroy 44. According to Shelley, which of the following is
conventional thinking not part of the nature of language?
C. that the poet is clairvoyant A. It is imaginative.
D. that the poet is the gardener of thought B. It is a reflection of passion.
E. that the current thoughts of the poet C. It causes civil habits of action.
presage the future D. It deals with the eternal self.
E. It is connected only to thought.
9. According to Shelley, “the pretense of
3
superstition” (lines 7–8) is 5. In line 27, if the word “former” refers to
4
A. the ability to “foreknow” events language, then “latter” refers to
B. the ability to control the future A. art
C. to grant immortality to the poet B. motion
D. to be a legislator C. limits
E. the ability to change the future D. imagination
E. metrics
0. Shelley asserts that grammatical forms (lines
4
10–15) serve all the following purposes except 46. Lines 27–28, beginning with, “The former . . .”
A. to indicate verb tense contain ALL of the following literary devices
B. to clarify pronoun agreement EXCEPT
C. to solidify relative pronouns A. parallel structure
D. to forbid citation B. simile
E. to enhance poetry C. imagery
D. personification
1. The reader may infer that the book of Job and
4
E. metaphor
the works of Aeschylus and Dante
A. are too far in the past to be of value today 47. According to the final paragraph, the greatest
B. are examples of Shelley’s theories attribute of the poet is his
C. have injured poetry A. sensitivity to light and dark
D. deal with superstition B. depiction of fantasy and reality
E. are more decisive than art C. perception of others
D. ability to reflect the future
E. creation of art
END OF SECTION I

The second part of the test is the 2-hour essay-writing section. You take this part of the
exam after the break following your completion of the multiple-choice section. You will be
required to write three different essays. In all likelihood, one of the questions will be based
on a prose passage, one on a poem or two, and one will be what is called the free-response
essay.
Do not write any essays at this time. Just take a careful look at each of the questions to
get an idea of the types of writing assignments you are expected to be able to handle. Essay
questions are called “prompts” by the AP.
Section II
Total time—2 hours
Question 1
(Suggested time 40 minutes. This question counts as one-third of the total score for Section II.)
In the following passage from the short story “The Dead,” James Joyce presents an insight into the character
of Gabriel. Write a well-organized essay in which you discuss various aspects of Gabriel’s complex character
that Joyce reveals to the reader and to Gabriel himself. Refer to such techniques and devices as imagery, point
of view, motif, diction, and syntax.
The Dead
She was fast asleep.
Gabriel, leaning on his elbow, looked for a few moments
unresentfully on her tangled hair and half-open mouth, listening to her
deep-drawn breath. So she had had that romance in her life: a man had
died for her sake. It hardly pained him now to think how poor a part 5
he, her husband, had played in her life. He watched her while she slept
as though he and she had never lived together as man and wife. His
curious eyes rested long upon her face and on her hair and, as he thought
of what she must have been then, in that time of her first girlish beauty,
a strange friendly pity for her entered his soul. He did not like to say 10
even to himself that her face was no longer beautiful but he knew that it
was no longer the face for which Michael Furey had braved death.
Perhaps she had not told him all the story. His eyes moved to the
chair over which she had thrown some of her clothes. A petticoat string
dangled to the floor. One boot stood upright, its limp upper fallen down: 15
the fellow of it lay upon its side. He wondered at his riot of emotions of
an hour before. From what had it proceeded? From his aunt’s supper,
from his own foolish speech, from the wine and dancing, the merry-making
when saying good-night in the hall, the pleasure of the walk along the river
in the snow. Poor Aunt Julia! She, too, would soon be a shade with the 20
shade of Patrick Morkan and his horse. He had caught that haggard look
upon her face for a moment when she was singing Arrayed for the Bridal.
Soon, perhaps, he would be sitting in the same drawing-room dressed in

black, his silk hat on his knees. The blinds would be drawn down and
Aunt Kate would be sitting beside him, crying and blowing her nose and 25
telling him how Julia had died. He would cast about in his mind for some
words that might console her, and would find only lame and useless ones.
Yes, yes: that would happen very soon.
Question 2
In “On the Subway,” Sharon Olds brings two worlds into close proximity. Identify the complex contrasts that
develop both portraits in the poem and discuss the insights the narrator comes to as a result of the experience.
Refer to such literary techniques as tone, poetic devices, imagery, and organization.
On the Subway
by Sharon Olds
The boy and I face each other
His feet are huge, in black sneakers
laced with white in a complex pattern like a
set of intentional scars. We are stuck on
opposite sides of the car, a couple of 5
molecules stuck in a rod of light
rapidly moving through darkness.
He has the casual cold look of a mugger,
alert under hooded lids. He is wearing
red, like the inside of the body 10
exposed. I am wearing dark fur, the
whole skin of an animal taken and
used. I look at his raw face,
he looks at my fur coat, and I don’t
know if I am in his power— 15
he could take my coat so easily, my
briefcase, my life—
or if he is in my power, the way I am
living off his life, eating the steak
he does not eat, as if I am taking 20
the food from his mouth. And he is black
and I am white, and without meaning or
trying to I must profit from his darkness,
the way he absorbs the murderous beams of the
nation’s heart, as black cotton 25
absorbs the heat of the sun and holds it. There is
no way to know how easy this
white skin makes my life, this
life he could take so easily and
break across his knee like a stick the way his 30

own back is being broken, the

rod of his soul that at birth was dark and
fluid and rich as the heart of a seedling
ready to thrust up into any available light
Question 3
Often in literature, a literal or figurative journey is a significant factor in the development of a character or
the meaning of the work as a whole. Choose a full-length work and write a well-organized essay in which you
discuss the literal and/or figurative nature of the journey and how it affects characterization and theme. You
may choose a work from the list below or another play or novel of literary merit.
As I Lay Dying Tom Jones

Jane Eyre Heart of Darkness
The Odyssey Moby Dick
Don Quixote The Sun Also Rises
Candide The Grapes of Wrath
A Streetcar Named Desire The Stranger
A Passage to India Ulysses
Gulliver’s Travels Their Eyes Were Watching God
No Exit Obasan
The Kite Runner Twelfth Night
END OF SECTION II
Afterword
So that’s what the Advanced Placement Literature and Composition exam looks like. If
you’re being honest with yourself, you’re probably feeling a bit overwhelmed at this point.
Good! This is primarily why we are going to deconstruct this entire Diagnostic/Master
exam for you and with you throughout this book. By the time you reach Practice Exams 1
and 2, you should be feeling much more confident and comfortable about doing well on
the AP Literature exam.
As you progress through this book, you will:
• Take each section of the Diagnostic/Master exam.
KEY IDEA • Read the explanations for the answers to the multiple-choice questions.
• Read sample student essays written in response to each of the three prompts.
• Read the rubrics and ratings of the student essays.
• Evaluate your own performance in light of this information.

STEP 3
Develop Strategies
for Success
Section
CHAPTER 4 I of the Exam: The Multiple-Choice Questions
CHAPTER 5 The Prose Passage Essay
CHAPTER 6 The Poetry Essay

CHAPTER 7 The Free-Response Essay


CHAPTER
4
Section I of the Exam:
The Multiple-Choice Questions
IN THIS CHAPTER
Summary: Become comfortable with the multiple-choice section of the
exam. If you know what to expect, you can prepare.
KEY IDEA Key Ideas

✪ Review the types of multiple-choice questions asked on the exam
✪ Learn strategies for approaching the multiple-choice questions
✪ Prepare yourself for the multiple-choice section of the exam
✪ Take the multiple-choice section of the exam
✪ Score yourself by checking the answer key and explanations for the
multiple-choice section of the Diagnostic/Master exam
Introduction to the Multiple-Choice Section of the Exam

Multiple choice? Multiple guess? Multiple anxiety? The day after the exam, students often
bemoan the difficulties and uncertainties of Section I of the AP Literature exam.
“It’s unfair.”
“It’s crazy.”
“Was that in English?”
“Did you get four Ds in a row for the second poem?”
“I just closed my eyes and pointed.”
Is it really possible to avoid these and other exam woes? We hope that by following
along with us in this chapter, you will begin to feel a bit more familiar with the world of
❮ 31

32 ❯ STEP 3. Develop Strategies for Success
multiple-choice questions and, thus, become a little more comfortable with the multiple-
choice section of the exam.
What Is It About the Multiple-Choice Questions

That Causes Such Anxiety?
Basically, a multiple-choice literature question is a flawed method of gauging understand-
ing because, by its very nature, it forces you to play a cat-and-mouse game with the test
maker, who demands that you concentrate on items that are incorrect before you can
choose what is correct. We know, however, that complex literature has a richness that
allows for ambiguity. When you are taking the exam, you are expected to match someone
else’s take on a work with the answers you choose. This is what often causes the student to
feel that the multiple-choice section is unfair. And maybe, to a degree, it is. However, the
test is designed to allow you to shine, not to be humiliated. To that end, you will not find
“cutesy” questions, and the test writers will not play games with you. What they will do is
present several valid options as a response to a challenging and appropriate question. These
questions are designed to separate the perceptive and thoughtful reader from the superficial
and impulsive one.
This said, it’s wise to develop a strategy for success. Practice is the key to this success.
You’ve been confronted with all types of multiple-choice questions during your career as
a student. The test-taking skills you have learned in your social studies, math, and science
classes may also apply to the AP Literature exam.
What Should I Expect in Section I?

For this first section of the AP Literature exam, you are allotted 1 hour to answer approxi-
mately 55 objective questions on four or five prose and poetry selections. The prose passage
will comprise works of fiction or drama. You can expect the poems to be complete and from
different time periods and of different styles and forms. In other words, you will not find
two Shakespearean sonnets on the same exam.
These are not easy readings. They are representative of the college-level work you have
been doing throughout the year. You will be expected to
• Follow sophisticated syntax
KEY IDEA • Respond to diction
• Be comfortable with upper-level vocabulary
• Be familiar with literary terminology
• Make inferences
• Be sensitive to irony and tone
• Recognize components of style
The good news is that the selection is self-contained. This means that if it is about the
Irish Potato Famine, you will not be at a disadvantage if you know nothing about it prior to
the exam. Frequently there will be biblical references in a selection. This is especially true of
works from an earlier time period. You are expected to be aware of basic allusions to biblical
and mythological works often found in literature, but the passage will never require you to
have any specific religious background.
Do not let the subject matter of a passage throw you. Strong analytical skills will work on
any passage.

Section I of the Exam: The Multiple-Choice Questions ❮ 33
How Should I Begin to Work with Section I?

Take no more than a minute and thumb through the exam, looking for the following:
STRATEGY
• The length of the selections
• The time periods or writing styles, if you can recognize them
• The number of questions asked
• A quick idea of the type of questions
This brief skimming of the test will put your mind into gear because you will be aware
of what is expected of you.
How Should I Proceed Through This Section of the Exam?

“Creating my own Timing is important. Always maintain an awareness of the time. Wear a watch. (Some stu-
multiple-choice dents like to put it directly in front of them on the desk.) Remember, this will not be your
questions was a first encounter with the multiple-choice section of the test. You’ve probably been practicing
terrific help to me timed exams in class; in addition, this book provides you with three timed experiences. We’re
when it came to
sure you will notice improvements as you progress through the timed practice activities.
doing close readings
and correctly Depending on the given selections, you may take less or more time on a particular
answering multiple- passage, but you must know when to move on. The test does not become more difficult as
choice questions on it progresses. So, you will want to give yourself adequate opportunity to answer each set of
the exam.” questions.
—Bill N. Work at a pace of about one question per minute. Every question is worth the same
AP student number of points, so don’t get bogged down on those that involve multiple tasks. Don’t
panic if a question is beyond you. Remember, it will probably be beyond a great number of
other students as well. There has to be a bar that determines the 5’s and 4’s for this exam.
Just do your best.
Reading the text carefully is a must. Begin at the beginning and work your way
through. Do not waste time reading questions before you read the selection.
Most people read just with their eyes. We want you to slow down and read with your
senses of sight, sound, and touch.
• Underline, circle, bracket, or highlight the text.
STRATEGY • Read closely, paying attention to punctuation and rhythms of the lines or sentences.
• Read as if you were reading the passage aloud to an audience, emphasizing meaning and
intent.
• As corny as it may seem, hear those words in your head.
• This technique may seem childish, but it works. Using your finger as a pointer, under-
score the line as you are reading it aloud in your head. This forces you to slow down and
to really notice the text. This will be helpful when you have to refer to the passage.
• Use all the information given to you about the passage, such as title, author, date of pub-
lication, and footnotes.
• Be aware of foreshadowing.
• Be aware of thematic lines and be sensitive to details that will obviously be material for
multiple-choice questions.
• When reading poetry, pay particular attention to enjambment and end-stopped lines
because they carry meaning.
• With poetry, it’s often helpful to paraphrase a stanza, especially if the order of the lines
has been inverted.

TIP
You can practice these techniques any time. Take any work and read it aloud. Time
yourself. A good rate is about 1½ minutes per page.
Types of Multiple-Choice Questions

Multiple-choice questions are not written randomly. There are certain formats you will
KEY IDEA encounter. The answers to the following questions should clarify some of the patterns.
Is the Structure the Same for All of the Multiple-Choice Questions?

No. Here are several basic patterns that the AP test makers often employ:
1. The straightforward question, such as:
• The poem is an example of a
C. lyric
• The word “smooth” refers to
B. his skin
2. The question that refers you to specific lines and asks you to draw a conclusion or
to interpret.
• Lines 52–57 serve to
A. reinforce the author’s thesis
3. The “all . . . except” question requires extra time because it demands that you consider
every possibility.
• The AP Literature exam is all of the following except:
A. It is given in May of each year.
B. It is open to high school seniors.
C It is published in The New York Times.
D. It is used as a qualifier for college credit.
E. It is a 3-hour test.
4. The question that asks you to make an inference or to abstract a concept that is not
directly stated in the passage.
• In the poem “My Last Duchess,” the reader can infer that the speaker is
E. arrogant
5. Here is the killer question. It uses Roman numerals, no less! The question employing
Roman numerals is problematic and time-consuming. You can be certain that each
exam will have several of these questions.
• In the poem, “night” refers to
I. the death of the maiden
II. a pun on Sir Lancelot’s title
III. the end of the affair
A. I only
B. I and II
C. I and III
D. II and III
E. I, II, and III
This is the type of question to skip if it causes you problems and/or you are short on time.

What Kinds of Questions Should I Expect on the Exam?

The multiple-choice questions center around form and content. The test makers want to
assess your understanding of the meaning of the selection as well as your ability to draw
inferences and perceive implications based on it. They also want to know whether you
understand how a writer develops his or her ideas.
The questions, therefore, will be factual, technical, analytical, and inferential. The two
tables that follow illustrate the types of key words and phrases in these four categories that
you can expect to find in questions for both the prose and the poetry selections.
Note: Do not memorize these tables. Also, do not panic if a word or phrase is unfamiliar
KEY IDEA to you. You may or may not encounter any or all of these words or phrases on any given
exam. You can, however, count on meeting up with many of these in the practice exams
in this book.
Prose: Key Words and Phrases Found in Multiple-Choice Questions

FACTUAL TECHNICAL ANALYTICAL INFERENTIAL
words refer to sentence structure rhetorical strategy effect of diction
allusions style shift in development tone
antecedents grammatical purpose rhetorical stance inferences
pronoun referents dominant technique style effect of last paragraph
genre imagery metaphor effect on reader
setting point of view contrast narrator’s attitude
organization of passage comparison image suggests
narrative progress of passage cause/effect effect of detail
conflict argument author implies
irony description author most
function of narration concerned with
specific-general symbol
how something is
characterized
imagery
passage is primarily
concerned with
function of

Poetry: Key Words and Phrases Found in Multiple-Choice Questions

FACTUAL TECHNICAL ANALYTICAL INFERENTIAL
all except imagery character portrayal mood
definition literary devices imagery attitude of
thesis paradox literary devices poet’s attitude
sequence of events organizational pattern paradox purpose of
the object of is syntax purpose of tone of the poem
allusion metrics rhetorical shifts theme of the poem
the subject of dramatic situation parallel structure ironies presented reader may infer
rhetorical shifts least important best interpreted as
paraphrasing ironies presented most important effect of diction
subject function of diction speaker implies
references dramatic moment is associated with
meaning conveyed by context
symbol
A word about jargon. Jargon refers to words that are unique to a specific subject. A
TIP
common language is important for communication, and there must be agreement on the
basic meanings of terms. Even though it is important to know the universal language of a
subject, it is also important that you not limit the scope of your thinking to a brief defini-
tion. All the terms used in the tables are interwoven in literature. They are categorized only
for easy reference. They also work in many other contexts. In other words, think beyond
the box.
Scoring the Multiple-Choice Section

How Does the Scoring of the Multiple-Choice Section Work?
The College Board has implemented a new scoring process for the multiple-choice section
of the AP English Literature and Composition exam. No longer are points deducted for
incorrect responses, so there is no longer a penalty for guessing incorrectly. Therefore, it is
to your advantage to answer ALL of the multiple-choice questions. Your chances of guess-
ing the correct answer improve if you skillfully apply the process of elimination to narrow
the choices.
Multiple-choice scores are based solely on the number of questions answered cor-
rectly. If you answered 36 questions correctly, then your raw score is 36. This raw score,
which is 45 percent of the total, is combined with that of the essay section to make up a
composite score. This is then manipulated to form a scale on which the final AP grade is
based.

Strategies for Answering the Multiple-Choice Questions

You’ve been answering multiple-choice questions most of your academic life, and you’ve
probably figured out ways to deal with them. However, there may be some points you have
not considered that will be helpful for this particular exam.
General Guidelines
• Work in order. This is a good approach for several reasons:
STRATEGY • It’s clear.
• You will not lose your place on the scan sheet.
• There may be a logic to working sequentially that will help you answer previous
questions. But, this is your call. If you are more comfortable moving around the exam,
do so.
• Write on the exam booklet. Mark it up. Make it yours. Interact with the test.
• Do not spend too much time on any one question.
• Focus on your strengths. If you are more comfortable working with poetry, answer the
poetry questions first.
• Don’t be misled by the length or appearance of a selection. There is no correlation
between length or appearance and the difficulty of the questions.
• Don’t fight the question or the passage. You may know other information about the sub-
ject of the text or a question. It’s irrelevant. Work within the given context.
• Consider all the choices in a given question. This will keep you from jumping to a false
conclusion. It helps you to slow down and to really look at each possibility. You may find
that your first choice is not the best or most appropriate one.
• Maintain an open mind as you answer subsequent questions in a series. Sometimes the
answer to a later question will contradict your answer to a previous one. Reconsider both
answers. Also, the phrasing of a question may point to an answer in a previous question.
• Remember that all parts of an answer must be correct.
• When in doubt, go to the text.
Specific Techniques
• Process of elimination: This is your primary tool, except for direct knowledge of the
answer.
1. Read the five choices.
2. If no choice immediately strikes you as correct, you can
• Eliminate those choices that are obviously wrong
• Eliminate those choices that are too narrow or too broad
• Eliminate illogical choices
• Eliminate answers that are synonymous
• Eliminate answers that cancel each other out

3. If two answers are close, do one or the other of the following:

• Find the one that is general enough to cover all aspects of the question
• Find the one that is limited enough to be the detail the question is looking for
• Substitution/fill in the blank
1. Rephrase the question, leaving a blank where the answer should go.
2. Use each of the choices to fill in the blank until you find the one that is the best fit.
• Using context
1. Consider the context when the question directs you to specific lines, words, or
phrases.
2. Locate the given word, phrase, sentence, or poetic line and read the sentence or line
before and after the section of the text to which the question refers. Often this pro-
vides the information or clues you need to make your choice.
• Anticipation: As you read the passage for the first time, mark any details and ideas that
you would ask a question about. You may be able to anticipate the test makers this way.
• Intuition or the educated guess: You have a wealth of skills and knowledge in your lit-
erary subconscious. A question or a choice may trigger a “remembrance of things past.”
This can be the basis for your educated guess. Have the confidence to use the educated
guess as a valid technique. Trust your own resources.
TIP Survival Plan

If time is running out and you haven’t finished the fourth selection:
1. Scan the remaining questions and look for:
• The shortest questions
• The questions that direct you to a specific line.
2. Look for specific detail/definition questions.
3. Look for self-contained questions. For example: “The sea slid silently from the
shore” is an example of C. alliteration. You do not have to go to the passage to
answer this question.
If I Don’t Know an Answer, Should I Guess?

You can’t be seriously hurt by making educated guesses based on a careful reading of the
selection. Be smart. Understand that you need to come to this exam well prepared. You
must have a foundation of knowledge and skills. You cannot guess through the entire exam
and expect to do well.
This is not Lotto. This book is not about how to “beat the exam.” We want to maxi-
mize the skills you already have. There is an inherent integrity in this exam and your partici-
pation in it. With this in mind, when there is no other direction open to you, it is perfectly
fine to make an educated guess.

Is There Anything Special I Should Know About Preparing

for the Prose Multiple-Choice Questions?
After you have finished with the Diagnostic/Master exam, you will be familiar with the
format and types of questions asked on the AP Lit exam. However, just practicing answer-
ing multiple-choice questions on specific works will not give you a complete understanding
of this questioning process. We suggest the following to help you hone your multiple-
choice answering skills with prose multiple-choice questions:
• Choose a challenging passage from a full-length prose work.
STRATEGY • Read the selection a couple of times and create several multiple-choice questions about
specific sections of the selection.
• Make certain the section is self-contained and complex.
• Choose a dialogue, monologue, introductory setting, set description, stage directions,
philosophical passage, significant event, or moment of conflict.
• Create a variety of question types based on the previous chart.
• Refer to the prose table given earlier in this chapter for suggested language and type.
“One of my biggest • Administer your mini-quiz to a classmate, study group, or class.
challenges in • Evaluate your results.
preparing for the • Repeat this process through several different full-length works during your preparation
exam was to learn for the exam. The works can certainly come from those you are studying in class.
not to jump to
conclusions when Here’s what should happen as a result of your using this process:
I was doing the
• Your expectation level for the selections in the actual test will be more realistic.
multiple-choice
questions.” • You will become familiar with the language of multiple-choice questions.
— Samantha S. • Your understanding of the process of choosing answers will be heightened.
AP student • Questions you write that you find less than satisfactory will trigger your analytical skills
as you attempt to figure out “what went wrong.”
• Terminology will become more accurate.
• Bonus: If you continue to do this work throughout your preparation for the AP exam, you
will have created a mental storehouse of literary information. So when you are presented
with a prose or free-response essay in Section II, you will have an extra resource at your
disposal.
Your Turn
To Do:
1. Circle/highlight/underline the words and/or phrases that appear to be important for the
STRATEGY meaning of the excerpt.
2. Carefully consider each of the given sample questions.
3. Construct your own question that is an example of the specific type.
from Mark Twain’s Huckleberry Finn
Sometimes we’ d have the whole river all to ourselves for the longest time. Yonder
was the banks and the islands, across the water; and maybe a spark—which was a
candle in a cabin window—and sometimes on the water you could see a spark or
two—on a raft or a scow, you know; and maybe you could hear a fiddle or a song
coming over from one of them crafts. It’s lovely to live on a raft. We had the sky, 5
up there, all speckled with stars, and we used to lay on our backs and look up at

them, and discuss about whether they was made, or only just happened—Jim he
allowed they was made, but I allowed they happened; I judged it would have took
too long to make so many. Jim said the moon could a laid them; well, that looked
kind of reasonable, so I didn’t say nothing against it, because I’ve seen a frog lay 10
most as many, so of course it could be done. We used to watch the stars that fell,
too, and see them streak down. Jim allowed they’d got spoiled and was hove out
of the nest.
Title: Huckleberry Finn

Author: Mark Twain
Type of passage: Narrative description
Sample Factual Question: In lines 10–11, “I’ve seen a frog lay most as many” refers to
Answer: stars Rationale: The implied comparison has Huck inferring

that the number of stars in the sky is similar
to the number of eggs a frog lays.
Your Factual Question:
Answer: Rationale:
Sample Technical Question: A primary function of the sentence “It’s lovely to live on a raft” is
Answer: to contrast with the lyrical Rationale: The straightforward break in the middle of
description in the passage the passage emphasizes the key point of the
description.
Your Technical Question:
Answer: Rationale:

Sample Analytical Question: The primary purpose of using dialect is most likely to
Answer: reinforce the innocence and Rationale: The regional dialect illustrates the lack of the
natural state of Huck and Jim stereotypical education and background of the
period.
Your Analytical Question:
Answer: Rationale:
Sample Inferential Question: The tone of the passage can best be described as
Answer: nostalgic and Rationale: The diction supports their reverie
philosophical and their curiosity about their
place in the universe.
Your Inferential Question:
Answer: Rationale:
Is There Anything Special I Should Do to Prepare

for the Poetry Questions?
The points made about prose hold true for the poetry multiple-choice questions as well.
But there are a few specific pointers that may prove helpful:
• Choose thoughtful and interesting poems of some length. (See our suggested reading list.)
TIP
• Read the poems several times. Practice reading the poems aloud.
• The greatest benefit will be that as you read any poem, you will automatically begin to
respond to areas of the poem that would lend themselves to a multiple-choice question.

• Here is a list of representative poets you may want to read.

• Shakespeare • Richard Wilbur
• John Donne • Adrienne Rich
• Philip Larkin • Edmund Spenser
• Emily Dickinson • W. H. Auden
• Sylvia Plath • W. B. Yeats
• Dylan Thomas • Gwendolyn Brooks
• May Swenson • Elizabeth Bishop
• Theodore Roethke • Langston Hughes
• Sharon Olds • Galway Kinnell
• Billy Collins • Marianne Moore
• Pablo Neruda • May Sarton
You might want to utilize this process throughout the year with major works studied
in and out of class and keep track of your progress. See the Bibliography of this book.
Your Turn
To Do:
4. Circle/highlight/underline the words and/or phrases that appear to be important for the
STRATEGY meaning of the poem.
5. Carefully consider each of the given sample questions.
6. Construct your own question that is an example of the specific type.
It Sifts from Leaden Sieves

By Emily Dickinson
It sifts from leaden sieves,
It powders all the wood,
It fills with alabaster wool
The wrinkles of the road.
It makes an even face 5

Of mountain and of plain, –
Unbroken forehead from the east
Unto the east again.
It reaches to the fence,

It wraps it, rail by rail, 10
Till it is lost in fleeces,
It flings a crystal veil
On stump and stack and stem, –

The summer’s empty room,
Acres of seams where harvests were, 15
Recordless, but for them.

It ruffles wrists of posts,

As ankles of a queen, –
Then stills its artisans like ghosts,
Denying they have been. 20
Title: “It Sifts from Leaden Sieves”

Poet: Emily Dickinson
Sample Factual Question: The subject of the poem’s dramatic situation is

Answer: the falling snow Rationale: The images all support the snow
metaphor.
Your Factual Question:
Answer: Rationale:
Sample Technical Question: The primary literary device used in the poem is
Answer: metaphor Rationale: Metaphor is used in every stanza.
Your Technical Question:
Answer: Rationale:

Sample Analytical Question: Paradox is most readily seen in

Answer: the softness imagery vs. the Rationale: There is a shift from description
last two lines of the poem to the effect of the cold in
the last two lines.
Your Analytical Question:
Answer: Rationale:
Sample Inferential Question: Based on the poem, the reader could infer that
Answer: the power of nature is Rationale: Nothing in the poem is excluded
all-encompassing from the power of the snow.
Your Inferential Question:
Answer: Rationale:
The Time Is at Hand

It is now time to try the Diagnostic/Master exam, Section I. Do this section in one sitting.
Time yourself ! Be honest with yourself when you score your answers.
Note: If the 1 hour passes before you finish all the questions, stop where you are and
score what you have done up to this point. Afterwards, answer the remaining questions, but
do not count the answers as part of your score.
When you have completed all the multiple-choice questions in this Diagnostic/Master
exam, carefully read the explanations of the answers. Spend time here and assess which
types of questions give you trouble. Use this book to learn from your mistakes.

ANSWER SHEET FOR DIAGNOSTIC

MULTIPLE-CHOICE QUESTIONS
1.
— 13.
— 25.
— 37.
—
2.
— 14.
— 26.
— 38.
—
3.
— 15.
— 27.
— 39.
—
4.
— 16.
— 28.
— 40.
—
5.
— 17.
— 29.
— 41.
—
6.
— 18.
— 30.
— 42.
—
7.
— 19.
— 31.
— 43.
—
8.
— 20.
— 32.
— 44.
—
9.
— 21.
— 33.
— 45.
—
10.
— 22.
— 34.
— 46.
—
11.
— 23.
— 35.
— 47.
—
12.
— 24.
— 36.
—

I — did — did not finish all the questions in the allotted 1 hour.
I had — correct answers. I had — incorrect answers. I left — questions blank.
I have carefully reviewed the explanations of the answers, and I think I need to work on the following types
of questions:

THE MULTIPLE-CHOICE SECTION OF

THE DIAGNOSTIC/MASTER EXAM
The multiple-choice section of the Diagnostic/Master exam follows. You have seen the questions in the “walk
through” in Chapter 3.
Advanced Placement Literature and Composition

Section 1
Total time—1 hour
Carefully read the following passages and answer the accompanying questions. Questions 1–10 are based on
the following poem.
Now Goes Under . . .

by Edna St. Vincent Millay
Now goes under, and I watch it go under, the sun

That will not rise again.
Today has seen the setting, in your eyes cold
and senseless as the sea,
Of friendship better than bread, and of bright charity 5
That lifts a man a little above the beasts that run.
That this could be!

That I should live to see
Most vulgar Pride, that stale obstreperous clown,
So fitted out with purple robe and crown 10
To stand among his betters! Face to face
With outraged me in this once holy place,
Where Wisdom was a favoured guest and hunted
Truth was harboured out of danger,
He bulks enthroned, a lewd, and insupportable stranger! 15
I would have sworn, indeed I swore it:

The hills may shift, the waters may decline,
Winter may twist the stem from the twig that bore it,
But never your love from me, your hand from mine.
Now goes under the sun, and I watch it go under. 20

Farewell, sweet light, great wonder!
You, too, farewell—but fare not well enough to dream
You have done wisely to invite the night before the darkness came.

1. The poem is an example of a(n) 6. For the speaker, the relationship has been all of
A. sonnet the following except
B. lyric A. honest
C. ode B. dangerous
D. ballad C. spiritual
E. dramatic monologue D. ephemeral
E. nourishing
2. The setting of the sun is a symbol for
A. the beginning of winter 7. The reader can infer from the play on words in
B. encountering danger the last stanza that the speaker is
C. the end of a relationship A. dying
D. facing death B. frantic
E. the onset of night C. wistful
D. bitter
3. The second stanza is developed primarily by
E. capricious
A. metaphor
B. simile 8. “This once holy place” (line 12) refers to
C. personification A. the sunset
D. hyperbole B. the relationship
E. allusion C. the sea
D. the circus
4. “He” in line 15 refers to
E. the Church
A. Wisdom
B. Truth 9. The cause of the relationship’s situation is
C. I A. a stranger coming between them
D. Pride B. the lover not taking the relationship
E. charity seriously
C. the lover feeling intellectually superior
5. According to the speaker, what separates man
D. the lover’s pride coming between them
from beast?
E. the lover being insensitive
A. love
B. friendship 0. The speaker acknowledges the finality of the
1
C. charity relationship in line(s)
D. truth A. 1–2
E. wisdom B. 7
C. 8
D. 16
E. 18–19

The sea-reach of the Thames stretched before us like the beginning of an
interminable waterway. The air was dark above Gravesend, and farther back still
seemed condensed into a mournful gloom, brooding motionless over the biggest and
the greatest town on earth.
“I was thinking of very old times, when the Romans first came here, nineteen 5
hundred years ago—the other day . . . Light came out of this river since—you say knights?
Yes; but it is like a running blaze on a plain, like a flash of lightning in the clouds. We live
in the flicker—may it last as long as the old earth keeps rolling! But darkness was here
yesterday. Imagine the feelings of a commander of a fine—what d’ye call ’em?—trireme
in the Mediterranean, ordered suddenly to the north; run overland across the Gauls in a 10

hurry; put in charge of one of these craft the legionnaires—a wonderful lot of handy men
they must have been, too—used to build, apparently by the hundred, in a month or two, if
we may believe what we read. Imagine him here—the very end of the world, a sea the color
of lead, a sky the color of smoke, a kind of ship about as rigid as a concertina—and going
up this river with stores, or orders, or what you like. Sandbanks, marshes, forests, savages— 15
precious little to eat for a civilized man, nothing but Thames water to drink. No Falernian
wine here, no going ashore. Here and there a military camp lost in a wilderness, like a
needle in a bundle of hay—cold, fog, tempests, disease, exile, and death—death skulking in
the air, in the water, in the bush. They must have been dying like flies here. Oh yes—he
did it. Did it very well, too, no doubt, and without thinking much about it either, except 20
afterwards to brag of what he had gone through in his time, perhaps. They were men enough
to face darkness. And perhaps he was cheered by keeping his eye on a chance of promotion
to the fleet at Ravenna by and by, if he had good friends in Rome and survived the awful
climate. Or think of a decent young citizen in a toga—perhaps too much dice, you know—
coming out here in the train of some prefect, or tax-gatherer, or trader even, to mend his 25
fortunes. Land in a swamp, march through the woods, and in some inland post feel the
savagery, the utter savagery, had closed round him—all that mysterious life of the wilderness
that stirs in the forest, in the jungles, in the hearts of wild men. There’s no initiation either
into such mysteries. He has to live in the midst of the incomprehensible, which is also
detestable. And it has a fascination, too, that goes to work upon him. The fascination of the 30
abomination—you know, imagine the growing regrets, the longing to escape, the powerless
disgust, the surrender, the hate.”
He paused.
“Mind,” he began again, lifting one arm from the elbow, the palm of the hand
outwards, so that, with his legs folded before him, he had the pose of a Buddha preaching in 35
European clothes and without a lotus flower—“Mind, none of us would feel exactly like this.
What saves us is efficiency—the devotion to efficiency. But these chaps were not much
account, really. They were no colonists; their administration was merely a squeeze, and
nothing more, I suspect. They were conquerors, and for that you want only brute force—
nothing to boast of, when you have it, since your strength is just an accident arising from the 40
weakness of others. They grabbed what they could get for the sake of what was to be got. It
was just robbery with violence, aggravated murder on a great scale, and men going at it blind—
as is very proper for those who tackle a darkness. The conquest of the earth, which mostly
means taking it away from those who have a different complexion or slightly flatter noses
than ourselves, is not a pretty thing when you look at it too much. What redeems it is the idea 45
only. An idea at the back of it; not a sentimental pretense but an idea; and an unselfish belief
in the idea—something you can set up, and bow down before, and offer a sacrifice to . . . ”
11. In the passage, darkness implies all of the 12. The setting of the passage is
following except A. Africa
A. the unknown B. Ancient Rome
B. savagery C. the Thames River
C. ignorance D. the Mediterranean
D. death E. Italy
E. exploration

3. The tone of the passage is

1 8. In the context of the passage, which of the
1
A. condescending following phrases presents a paradox?
B. indignant A. “The fascination of the abomination . . . ”
C. scornful B. “ . . . in the hearts of wild men”
D. pensive C. “There’s no initiation . . . into such
E. laudatory mysteries”
D. “ . . . a flash of lightning in the clouds”
4. Later events may be foreshadowed by all of the
1
E. “ . . . death skulking in the air . . . ”
following phrases except
A. “Imagine the feelings of a commander . . . ” 9. The lines “Imagine him here . . . concertina . . .
1
B. “ . . . live in the midst of the ” (lines 13–14) contain examples of
incomprehensible . . . ” A. hyperbole and personification
C. “ . . . in some inland post feel the savagery B. irony and metaphor
...” C. alliteration and personification
D. “They must have been dying like flies D. parallel structure and simile
here.” E. allusion and simile
E. “ . . . the very end of the world . . . ”
0. According to the speaker, the one trait which
2
15. The narrator draws a parallel between saves Europeans from savagery is
A. light and dark A. sentiment
B. past and present B. a sense of mystery
C. life and death C. brute force
D. fascination and abomination D. religious zeal
E. decency and savagery E. efficiency
16. In this passage, “We live in the flicker...” 21. According to the speaker, the only justification
(lines 7–8) may be interpreted to mean ALL for conquest is
of the following EXCEPT A. the “weakness of others”
A. In the history of the world, humanity’s B. it’s being “proper for those who tackle a
span on earth is brief. darkness . . . ”
B. Future civilizations will learn from only a C. their grabbing “what they could get for the
portion of the past. sake of what was to be got”
C. Periods of enlightenment and vision appear D. “ . . . an unselfish belief in the idea . . . ”
only briefly. E. “The fascination of the abomination . . . ”
D. The river has been the source of life
22. In the statement by the speaker, “Mind, none
throughout the ages.
of us would feel exactly like this” (line 36),
E. A moment of present-day insight about
“this” refers to
conquest.
A. “ . . . a Buddha preaching in European
17. One may conclude from the passage that the clothes . . . ” (lines 35–36)
speaker B. “ . . . imagine the growing regrets . . . the
A. admires adventurers hate.” (lines 31–32)
B. longs to be a crusader C. “What redeems it is the idea only.” (lines
C. is a former military officer 45–46)
D. recognizes and accepts the presence of evil D. “ . . . think of a decent young citizen in a
in human experience toga . . . ” (line 24)
E. is prejudiced E. “I was thinking of very old times . . . ”
(line 5)

3. The speaker presents all of the following

2
reasons for exploration and conquest except
A. military expeditions
B. “ . . . a chance of promotion”
C. “ . . . to mend his fortunes”
D. religious commitment
E. punishment for a crime
That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day 5
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire,
That on the ashes of his youth doth lie, 10
As the deathbed whereon it must expire,
Consum’d with that which it was nourish’d by.
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.
24. “That time of year” (line 1) refers to 27. “Twilight of such day” (line 5) is supported by
A. youth all of the following images except
B. old age A. “sunset fadeth”
C. childhood B. “the glowing of such fire”
D. senility C. “west”
E. maturity D. “Death’s second self”
E. “ashes of his youth”
5. “Death’s second self” (line 8) refers to
2
A. “That time of year” 28. “This thou perceiv’st” (line 13) refers to
B. “sunset fadeth” A. the beloved’s deathbed
C. “the west” B. the sorrow of unrequited love
D. “ruin’d choirs” C. the passion of youth expiring
E. “black night” D. the beloved’s acknowledgment of the
speaker’s mortality
E. the speaker sending the lover away
A. paradox
B. caesura 9. The poem is an example of a(n)
2
C. parable A. elegy
D. hyperbole B. Spenserian sonnet
E. metonymy C. Petrarchan sonnet
D. Shakespearean sonnet
E. sestina

0. The poem is primarily developed by

3 3. An apt title for the poem could be
3
A. metaphor A. Love Me or Leave Me
B. argument B. Death Be Not Proud
C. synecdoche C. The End Justifies the Means
D. alternative choices D. Love’s Fall
E. contradiction E. Grow Old Along with Me
31. The irony of the poem is best expressed in line 34. The tone of the poem can best be described as
A. 5 A. contemplative
B. 7 B. defiant
C. 10 C. submissive
D. 11 D. arbitrary
E. 14 E. complaining
32. “It” in line 12 can best be interpreted to mean 5. The speaker most likely is
3
A. a funeral pyre A. jealous of the beloved’s youth
B. spent youth B. pleased that the lover will leave
C. the intensity of the speaker’s love C. unable to keep up with the young lover
D. the impending departure of his beloved D. unwilling to face his own mortality
E. the immortality of the relationship E. responsive to the beloved’s constancy
Poets and Language

by Percy Bysshe Shelley
Poets, according to the circumstances of the age and nation in which they appeared,
were called, in the earlier epochs of the world, legislators, or prophets: a poet essentially
comprises and unites both these characters. For he not only beholds intensely the present
as it is, and discovers those laws according to which present things ought to be ordered, but
he beholds the future in the present, and his thoughts are the germs of the flower and the 5
fruit of latest time. Not that I assert poets to be prophets in the gross sense of the word,
or that they can foretell the form as surely as they foreknow the spirit of events; such is the
pretense of superstition, which would make poetry an attribute of prophecy, rather than
prophecy an attribute of poetry. A poet participates in the eternal, the infinite, and the one;
as far as relates to his conceptions, time and place and number are not. The grammatical 10
forms which express the moods of time, and the difference of persons, and the distinction
of place, are convertible with respect to the highest poetry without injuring it as poetry; and
the choruses of Aeschylus, and the book of Job, and Dante’s Paradise, would afford, more
than any other writings, examples of this fact, if the limits of this essay did not forbid
citation. The creations of sculpture, painting, and music, are illustrations still more decisive. 15
Language, colour, form, and religious and civil habits of action, are all the instruments
and materials of poetry; they may be called poetry by that figure of speech which considers
the effect as a synonym for a cause. But poetry in a more restricted sense expresses those
arrangements of language, and especially metrical language, which are created by that
imperial faculty, whose throne is curtained within the invisible nature of man. And this 20

springs from the nature itself of language, which is a more direct representation of the actions
and passions of our internal being, and is susceptible of more various and delicate
combinations, than colour, form, or motion, and is more plastic and obedient to the control
of that faculty of which it is the creation. For Language is arbitrarily produced by the
imagination, and has relation to thoughts alone; but all other materials, instruments, and 25
conditions of art, have relations among each other, which limit and interpose between
conception and expression. The former is a mirror which reflects the latter as a cloud which
enfeebles, the light of which both are mediums of communication . . .
Poets are the hierophants* of an unapprehended inspiration; the mirrors of the
gigantic shadows which futurity casts upon the present, the words which express what they 30
understand not; the trumpets which sing to battle, and feel not what they inspire; the
influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.
*Hierophants: chief priests, advocates
36. The passage is an example of 0. Shelley asserts that grammatical forms (lines
4
A. the opening of a novel 10–15) serve all the following purposes except
B. the opening of an autobiography A. to indicate verb tense
C. an essay B. to clarify pronoun agreement
D. an ode C. to solidify relative pronouns
E. a dramatic monologue D. to forbid citation
E. to enhance poetry
37. According to Shelley, a poet is a combination of
A. historical figure and patriot 1. The reader may infer that the book of Job and
4
B. artist and priest the works of Aeschylus and Dante
C. grammarian and poet A. are too far in the past to be of value today
D. sculptor and musician B. are examples of Shelley’s theories
E. lawmaker and seer C. have injured poetry
D. deal with superstition
38. In lines 5 and 6, “the germs of the flower and
E. are more decisive than art
the fruit of latest time” can best be interpreted
to mean 42. According to Shelley, poetry, sculpture, music,
A. the guardian of the future and painting have what characteristic in
B. that the poet’s thoughts destroy common?
conventional thinking A. They are dependent on one another.
C. that the poet is clairvoyant B. They rely on grammatical forms.
D. that the poet is the gardener of thought C. They are at odds with one another.
E. that the current thoughts of the poet D. They are eternal.
presage the future E. They can only relate to a specific time and
place.
9. According to Shelley, “the pretense of
3
superstition” (lines 7–8) is 3. In lines 19–20, the phrase “that imperial
4
A. the ability to “foreknow” events faculty, whose throne . . . ” refers to
B. the ability to control the future A. legislators
C. to grant immortality to the poet B. language
D. to be a legislator C. synonyms
E. the ability to change the future D. nature
E. poetry

44. According to Shelley, which of the following is 46. Lines 27–28, beginning with, “The former . . .”
not part of the nature of language? contain ALL of the following literary devices
A. It is imaginative. EXCEPT
B. It is a reflection of passion. A. parallel structure
C. It causes civil habits of action. B. simile
D. It deals with the eternal self. C. imagery
E. It is connected only to thought. D. personification
E. metaphor
5. In line 27, if the word “former” refers to
4
language, then “latter” refers to 47. According to the final paragraph, the greatest
A. art attribute of the poet is his
B. motion A. sensitivity to light and dark
C. limits B. depiction of fantasy and reality
D. imagination C. perception of others
E. metrics D. ability to reflect the future
E. creation of art
STOP.
THIS IS THE END OF THE MULTIPLE-CHOICE SECTION OF THE

DIAGNOSTIC/MASTER EXAM

Answers and Explanations

Now Goes Under . . . 9. D. The cause is developed in the longest
by Edna St. Vincent Millay stanza, lines 7–15. Find the proof for your
answer in lines 7–12.
1. B. This question requires the student to know 0. A. Interestingly enough, the speaker reveals
1
the characteristics of various poetic forms. (See the conclusion in the first two lines of the
Chapter 9.) Using the process of elimination, poem. “The sun that will not rise again”
the correct answer B is readily confirmed. Lyric establishes the totality of the circumstances.
poetry is emotional and personal.
2. C. Although the setting sun is often associated Heart of Darkness
with winter, death, and darkness, these answers by Joseph Conrad
are not symbolic of the literal topic of the
poem—the end of the love relationship. 11. E. Here’s an easy question to start you off. For
3. C. The poet uses personification in lines years you heard your English teachers and your
9–15: “vulgar Pride,” “Where Wisdom was a classmates discussing all the elements that could
favoured guest,” “hunted Truth” as characters be associated with darkness. All the choices
to develop the conflicts apparent in the poem. given in this question would qualify except for
[TIP: Capitalization of nouns often indicates exploration.
personification.] 12. C. Line 1 gives you the answer. The Thames
4. D. This is an antecedent question. The student is the river that runs through the heart of
must retrace the reference “He” back to its London.
origins to locate the correct answer. Try asking 1 3. D. A careful reading of the passage will
“who is enthroned, lewd and unsupportable?” introduce you to a speaker who is thinking
Since truth, charity, and wisdom are described about the past, thinking about exploration and
positively, only vulgar pride qualifies as the conquest, and thinking about the conqueror
answer. and the conquered.
5. C. This question requires you to find the 4. A. Here, the speaker is asking his listeners to
1
antecedent. Ask yourself, “Who or what lifts picture the past. Therefore, it is not pointing to
man?” The answer, charity, should be obvious. the future. The feelings of a commander have
6. B. Sometimes you can find information from nothing to do with a future event; whereas each
a previous question. In question 2, “danger” of the other choices hints at a future concept.
was eliminated as a choice; therefore, it 5. B. The second paragraph is about ancient
1
probably wouldn’t be suitable for this question Rome and its conquests. The third paragraph
either. Try finding proof of the others. Truth = has the speaker considering “us” and what saves
honest; holy = spiritual; bread = nourishment. “us.” This is past and present.
Therefore, dangerous has to be the answer. 16. B. The first ten lines support inclusion of
7. D. This is a tone question based on a repetitive A. Choice B is NOT part of the speaker’s
contradictory phrase. She does not wish him conversation. Choice C is supported in the
well; therefore, she is bitter and resigned. There second paragraph. Choice D may be found in
is nothing playful, wistful, or frantic in the lines 5–8. Lines 36–47 support Choice E.
conclusion. 1 7. D. Lines 26–30 and 39–45 indicate the
8. B. This is a relationship question. You should speaker’s attitude toward the human condition.
realize this by the intensity of the opposing There is no evidence in the passage to support
lewd force, pride, which destroyed the sanctity any of the other choices.
of the love. (If you see this, you could validate 1 8. A. The question assumes you know the
your answer to question 9.) definition of paradox. Therefore, you should

be able to see that to be fascinated by that essence; here it is obvious that “consumed” and
which is repulsive, awful, and horrible is a “nourished” are contradictory.
paradox. 7. B. Even without returning to the poem, you
2
9. D. “A sea,” “a sky,” “a kind,” “or orders,” “or
1 should notice that A, C, D, and E suggest
what” are examples of parallel structure. The death or diminishment. The only image of
simile is “ship about as rigid as a concertina.” intensity and life appears in choice B.
2 0. E. This is a straightforward, factual question. 2 8. D. The keys to this question can be found in
The answer is found in line 37. lines 10–12 and line 14, which restate the irony
2 1. D. In lines 45–47 the speaker is philosophizing of the beloved’s devotion and the speaker’s
about what it is that “redeems” the “conquest mortality. A good technique is to always check
of the earth.” It is the idea. the previous and subsequent lines in order to
2 2. B. This question asks you to locate the clarify your answer. Also, careful reading would
antecedent of “this.” You could use the eliminate A and B. Passion is not mentioned in
substitution method here. Just replace “this” the poem.
with the word or phrase. Or, you could look 2 9. D. For the prepared student, this question
carefully at the text itself. The omniscient is a giveaway. Definitions of these terms in
narrator is describing the speaker as a Buddha. Chapter 9 clarify the differences among the
Lines 45–46 come after “this.” D and E are types of sonnets. The rhyme scheme should
not real possibilities. Also, they are too far away lead you to choose D.
from the pronoun. 3 0. A. The sonnet depends on several extended
2 3. E. A careful reading of the passage allows you comparisons with nature—the seasons, day
to find references to A and D and to locate the and night, and fire. Although there may be
quoted phrases in B and C. What you will not a contradiction in the final three lines, the
find are any references to “punishment for a primary means of development is metaphor.
crime.” (See Chapter 8 for examples of synecdoche.)
3 1. E. Since contradiction and paradox are
techniques that create irony, you should be
Sonnet 73 able to see that choice E restates the essential
by William Shakespeare opposing forces in the sonnet.
3 2. C. You must reread and interpret the entire
24. B. The difficulty with this question lies in third quatrain to clearly figure out this
the similarity between B and E. However, question. You need to decode the metaphor
it should be apparent from the numerous and realize that fires must be fed and that they
references to death and the contrast to youth expire when they exhaust the source of fuel.
that the poet is speaking of a literal time 3 3. D. Even though E is a lovely thought, the
period in life and not of a state of emotional speaker never expresses the desire to have
development. the beloved age along with him. This answer
5. E. Use the process of substitution and work
2 depends on the pun in the title of choice D—
backward in the poem to find the antecedent. fall. Here it may refer to the season of age as
Recognize the appositive phrase, which is set well as to the decline of the speaker and the
off by commas, to spot the previous image— relationship. No other choice is supported in
“black night.” Another trick is to recast the the sonnet.
line into a directly stated sentence instead of 34. A. At first glance, one might think the speaker
the poetic inversion. Asking “who or what is is submissive to the greater force of death;
Death’s second self” will help you locate the however, at no time does he acquiesce to the
subject of the line. demands of mortality. The speaker thinks
2 6. A. Once again you are being tested on about and reflects on his circumstances.
terminology and your ability to recognize an 3 5. E. You should notice that three of the five
example. Deconstruct the line and find its choices are negative. If you have read carefully,

you will be aware that the poem is laudatory grammatical forms. Citation is associated with
and positive with regard to the depth of the the limits of the essay.
beloved’s love. And, at no time is the speaker 4 1. B. In line 14, “examples of this fact” refers to
looking forward to his lover’s departure. Aeschylus, the book of Job, and Dante. The
word “examples” must lead you to choose B.
Poets and Language 4 2. D. This is a rather difficult question. In
by Percy Bysshe Shelley lines 9–10, the reader is told that the poet
participates in the eternal. Lines 11–12 state
36. C. This question is an example of how that grammatical forms will not injure poetry,
important the knowledge of definitions of and the reader is given examples of this. At
literary terms is if you hope to do well on the end of the paragraph, Shelley states that
the AP Lit exam. Using your knowledge and sculpture, etc. is even “more decisive,” meaning
experience, you would obviously choose C after indicative of the eternal.
reading just a few of the opening lines. 4 3. E. Simply, the antecedent of “that” is
7. E. Lines 2–3 give you the answer to this
3 “poetry.” If in doubt, use substitution.
factual question. You simply have to know 4 4. C. Lines 21–24 indicate all the characteristics
a couple of synonyms for “legislators” and given except for C.
“prophets.” 4 5. A. This question demands nothing more
3 8. E. Here, you are being asked to make some than knowing the meanings of two words and
serious associations with germination and locating an antecedent. To find the answer, you
flowering of buds and plants that lead to the must go to the preceding sentence. In line 26,
future production of fruit. Also, the word you will see the last item is “art.”
“latest” should lead you to choose E. 6. D. Comparing language to a mirror and all
4
3 9. A. This question centers around a literary other materials to a cloud are examples of
definition and requires you to look at the words metaphor and simile being used to construct
preceding and following the given phrase. imagery. Comparing an inanimate object to a
“Foreknow the spirit of events” and “attribute living being is not a part of this image.
of prophecy” point only to A. 4 7. D. Carefully read the words in lines 29–30,
4 0. D. A careful reading of lines 10–15 will beginning with “the mirrors” and ending with
lead you to conclude that all choices except “upon the present.” Here, Shelley compares
“forbid citation” can be seen as a function of poets to mirrors of the future. Mirrors reflect.


CHAPTER
5
The Prose Passage Essay
IN THIS CHAPTER
Summary: Complete explanation of the prose passage essay and its
purpose as it is presented on the AP English Literature exam
KEY IDEA Key Ideas

✪ Learn the types of prose passage prompts you might encounter on the
AP English Literature exam
✪ Learn about the rubrics and rating of the AP English Literature prose
passage essay
✪ Learn the basics of reading and notating a given passage
✪ Learn the basics of constructing your response to the prompt
✪ Examine the student models that respond to the diagnostic exam’s
prose passage essay prompt
✪ Learn how the rubrics were used to rate the student sample essays
Introduction to the Prose Passage Essay

This section of the exam gives you an opportunity to read and analyze a prose piece of
literature. This is your chance to become personally involved in the text and to demonstrate
your literary skills.
What Is an AP Literature Prose Passage?

Generally, it is a one-page excerpt from a work of fiction. More often than not, the selec-
tion will be from a novel or short story. Be aware that the exam may also present an excerpt
from a drama.
❮ 59

What Is the Purpose in Writing an Essay About a Prose Piece?

First, the people at the College Board want to determine your facility in reading and inter-
preting a sustained piece of literature. It requires you to understand the text and to analyze
those techniques and devices the author uses to achieve his or her purpose.
Second, the AP exam is designed to allow you to demonstrate your ease and fluency
with terminology, interpretation, and criticism. Also, the level of your writing should be a
direct reflection of your critical thinking.
Third, the AP exam determines your ability to make connections between analysis and
interpretation. For example, when you find a metaphor, you should identify and connect
it to the author’s intended purpose or meaning. You should not just list items as you locate
them. You must connect them to your interpretation.
TIP
Before beginning to work with an actual prose passage, read the review of processes and
terms in the Comprehensive Review section of this book. You should also have com-
pleted some of the activities in that section.
Types of Prose Passage Essay Questions

Let’s look at a few prose passage questions that have been asked on the AP Literature exam
in the past:
• Analyze narrative and literary techniques and other resources of language used for char-
KEY IDEA acterization.
• How does a narrator reveal character? (i.e., tone, diction, syntax, point of view)
• How does the author reveal a character’s predicament? (i.e., diction, imagery, point of
view)
• Explain the effect of the passage on the reader.
• Compare/contrast two passages concerning diction and details for the effect on the reader.
• How does the passage provide characterization and evaluation of one character over
another? (i.e., diction, syntax, imagery, tone)
• What is the attitude of the speaker toward a particular subject?
• Analyze the effect of revision when given both the original and the revised version of a
text.
• Analyze style and tone and how they are used to explore the author’s attitudes toward his
or her subject.
• How is the reader prepared for the conclusion of the piece?
You should be prepared to write an essay based on any of these prompts. Practice.
Practice. Practice anticipating questions. Keep a running list of the kinds of questions your
teacher asks.
TIP
Don’t be thrown by the complexity of a passage. Remember, you choose the references
you wish to incorporate into your essay. So, even if you haven’t understood everything,
you are still able to write an intelligent essay—as long as you address the prompt and refer
to the parts of the passage you do understand.
Watch out for overconfidence when you see what you believe to be an easy question
with an easy passage. You are going to have to work extra hard to find the nuances in
the text that will allow you to write a mature essay.

The Prose Passage Essay ❮ 61
Rating the Prose Passage Essay

You will be relieved to know that the rating of your essay is not based on whether or not
the reader likes you or agrees with your point of view.
How Do the Test Readers Evaluate My Essay?

It’s important to understand just what it is that goes into rating your essay. This is called
a rubric, but don’t let that word frighten you. A rubric is a word that simply refers to the
rating standards that are set and used by the people who read the essays. These standards
are fairly consistent, no matter what the prompt might be. The primary change is in the
citing of the specifics in a particular prompt.
Let us assure you that, as experienced readers of the AP English exams, we know that the
readers are trained to reward those things you do well in addressing the question. They are
not looking to punish you. They are aware of the time constraints, and they read your essay
just as your own instructor would read the first draft of an essay you wrote on a 40-minute
exam. These readers look forward to an interesting, insightful, and well-constructed essay.
So, let’s take a look at the following rubrics:
• A 9 essay has all the qualities of an 8 essay, and the writing style is especially mature, as is
KEY IDEA the analysis and/or discussion of the specifics related to the prompt and the text.
• An 8 essay will effectively and cohesively address the prompt. It will analyze and/or
discuss the stylistic elements called for in the question. And it will do so using appropri-
ate evidence from the given text. The essay will also show the writer’s ability to control
language well.
• A 7 essay has all the properties of a 6, only with a more complete and well-developed
analysis/discussion or a more mature writing style.
• A 6 essay adequately addresses the prompt. The analysis and/or discussion is on target
and makes use of appropriate specifics from the text. However, these elements are less
fully developed than scores in the 7, 8, and 9 range. The essay writer’s ideas are expressed
with clarity, but the writing may have a few errors in syntax and/or diction.
• A 5 essay demonstrates that the writer understands the prompt. The analysis/discussion
is generally understandable, but the analysis/discussion is limited or uneven. The writer’s
ideas are expressed clearly with a few errors in syntax or diction.
• A 4 essay is not an adequate response to the prompt. The writer’s analysis/discussion of
the text indicates a misunderstanding, an oversimplification, or a misrepresentation of
the given passage. The writer may use evidence that is not appropriate or not sufficient
to support the analysis/discussion.
• A 3 essay is a lower 4 because it is even less effective in addressing the prompt. It is also
less mature in its syntax and organization.
• A 2 essay indicates little success in speaking to the prompt. The writer may misread the
question, only summarize the passage, never develop the required analysis/discussion,
or simply ignore the prompt and write about another topic altogether. The writing may
also lack organization and control of language and syntax. (Note: No matter how good a
summary may be, it will never rate more than a 2.)
• A 1 essay is a lower 2 because it is even more simplistic, disorganized, and lacking in
control of language.

TIP
Remember, the essay is really a first draft. The test readers know this and approach each
essay with this in mind.
Timing the Essay

Timing is crucial. With that in mind, here’s a workable strategy:
• 1–3 minutes reading and “working the prompt.”
STRATEGY • 5 minutes reading and making marginal notes about the passage. Try to isolate 2 quota-
tions that strike you. This may give you your opening and closing.
• 5–10 minutes preparing to write. (Choose one or two of the following methods that you
feel comfortable with.)
Using a highlighter • Underlining, bracketing, circling
is not allowed during • Marginal notations
the exam. However, • Charts or key word/one word/line number outlining
it is a strong tool for • 20–25 minutes to write your essay, based on your preparation.
practice in critical
• 3 minutes for proofreading.
reading.
Note: Throughout this book, the term highlight will also refer to underlining, circling,
or bracketing.
TIP
In the margin, note what time you should be finished with each essay. For example, the
test starts at 1 p.m. You write 1:40 in the margin. Time to move on.
Working the Prompt

You can’t write clearly unless you know Why you are writing and What’s Expected of you.
When you “Work the Prompt,” you are maximizing both of these areas.
How Should I Go About Reading the Prose Prompt?

To bring the answer home to you, we will deconstruct a prompt for you now. (This is the
same question that is in the Diagnostic/Master exam.) Plan to spend 1–3 minutes carefully
reading the question. This will give you time to really digest what the question is asking
you to do.
Here’s the prompt:
In the following passage from the short story “The Dead,” James Joyce presents an
insight into the character of Gabriel. Write a well-organized essay in which you discuss
various aspects of Gabriel’s character that Joyce reveals to the reader and to Gabriel
himself. Refer to such techniques and devices as imagery, point of view, motif, diction,
and syntax.
Here are three reasons why you should do a 1–3-minute careful analysis of the prompt.
1. Once you know what is expected, you will read in a more directed manner.
KEY IDEA
2. Once you internalize the question, you will be sensitive to those details that will apply.
3. Once you know all the facets that need to be addressed, you will be able to write a
complete essay demonstrating adherence to the topic.

TIP
Topic adherence, which means sticking to the question, is key to achieving a high score.
Do this now. Underline, circle, or bracket the essential terms and elements in the
prompt. Time yourself. How long did it take you? Don’t worry if it took you longer
than 1–3 minutes in this first attempt. You will be practicing this technique throughout this
review, and it will become almost second nature to you.
Compare our working of the prompt with yours.
In the following passage from the short story “The Dead,” James Joyce presents an
insight into the character of Gabriel. Write a well-organized essay in which you discuss
various aspects of Gabriel’s complex character that Joyce reveals to the reader and to
Gabriel himself. Refer to such techniques and devices as imagery, point of view, motif,
diction, and syntax.
In this prompt, anything else you may have highlighted is extraneous.
TIP
When the question uses the expression “such as,” you are not required to use only those
ideas presented; you are free to use your own selection of techniques and devices. Notice
that the prompt requires more than one technique. One will not be enough. You must
use more than one. If you fail to use more than one technique, no matter how well you
present your answer, your essay will be incomplete.
Reading and Notating the Prose Passage

Depending on your style and comfort level, choose one of these approaches to your reading:
1. A. Read quickly to get the gist of the passage.
STRATEGY B. Reread, using the visual and marginal notes approach.
2. A. Read slowly, using highlighting and making marginal notes.
B. Reread to confirm that you understand the full impact of the passage.
Note: In both approaches, you must highlight and make marginal notes. There is no
way to avoid this. Ignore what you don’t immediately understand. It may become clear to
you after you finish reading the passage. Practice. Practice. Concentrate on those parts of
the passage that apply to what you highlighted in the prompt.
There are many ways to read and interpret any given passage. You have to choose which
one to use and which specifics to include for support. Don’t be rattled if there is leftover
material.
We’ve reproduced the passage for you below so that you can practice both the reading
and the process of deconstructing the text. Use highlighting, arrows, circles, underlining,
notes, numbers, and whatever you need to make the connections clear to you.
Do this now. Spend 8–10 minutes working the material. Do not skip this step. It is time
well spent and is a key to the high-score essay.

The Dead
She was fast asleep.
Gabriel, leaning on his elbow, looked for a few moments
unresentfully on her tangled hair and half-open mouth, listening to her
deep-drawn breath. So she had had that romance in her life: a man had
died for her sake. It hardly pained him now to think how poor a part 5
curious eyes rested long upon her face and on her hair and, as he thought
a strange friendly pity for her entered his soul. He did not like to say 10
even to himself that her face was no longer beautiful but he knew that it
was no longer the face for which Michael Furey had braved death.
Perhaps she had not told him all the story. His eyes moved to the
dangled to the floor. One boot stood upright, its limp upper fallen down: 15
the fellow of it lay upon its side. He wondered at his riot of emotions of
in the snow. Poor Aunt Julia! She, too, would soon be a shade with the 20
shade of Patrick Morkan and his horse. He had caught that haggard look
Soon, perhaps, he would be sitting in the same drawing-room dressed in
black, his silk hat on his knees. The blinds would be drawn down and
Aunt Kate would be sitting beside him, crying and blowing her nose and 25
telling him how Julia had died. He would cast about in his mind for some
words that might console her, and would find only lame and useless ones.
Yes, yes: that would happen very soon.
Now, compare your reading notes with what we’ve done below. Yours may vary from
KEY IDEA ours, but the results of your note-taking should be similar in scope.
who?
The Dead
alike?
Bible? She was fast asleep. short sentence time
angel? Gabriel, leaning on his elbow, looked for a few moments he hears
death? unresentfully on her tangled hair and half-open mouth, listening to her not him
time
last? deep-drawn breath. So she had had that romance in her life: a man had
he thinks
died for her sake. It hardly pained him now to think how poor a part
detached? he sees
death death-like?
time curious eyes rested long upon her face and on her hair and, as he thought
time—again

he’s kind? back to death
a strange friendly pity for her entered his soul. He did not like to say
time
weak even to himself that her face was no longer beautiful but he knew that it
fury?
coward? was no longer the face for which Michael Furey had braved death.
self-image time not a
Perhaps she had not told him all the story. His eyes moved to the coward
weak?
dangled to the floor. One boot stood upright, its limp upper fallen down: lack of
the fellow of it lay upon its side. He wondered at his riot of emotions of control?
time afraid to
self-image let go?
death?
cold death? time
ghost? in the snow. Poor Aunt Julia! She, too, would soon be a shade with the
cold
cold shade of Patrick Morkan and his horse. He had caught that haggard look
time
time
Soon, perhaps, he would be sitting in the same drawing-room dressed in mourning
death black, his silk hat on his knees. The blinds would be drawn down and closed off
mourning
Aunt Kate would be sitting beside him, crying and blowing her nose and
death self-image
telling him how Julia had died. He would cast about in his mind for some detached
weak?
uncertain? words that might console her, and would find only lame and useless ones.
weakness
Yes, yes: that would happen very soon. time
After you have marked the passage, review the prompt. You are asked to look for ways
KEY IDEA Joyce reveals Gabriel’s character. When you consult your notes, certain categories will begin
to pop out at you. These can be the basis for the development of the body of your essay.
For example, we saw details and images that support the concepts of:
• Death • Time • Insecurity
• Passivity • Detachment
In addition, stylistically, we noticed the use of short sentences.
Here’s how one category developed using the notations made on the passage. Notice
that we have ignored notes that did not apply to the prompt.
Concept: Time
Words/Phrases from the Text:
“a few moments” “no longer the face”
“had had that romance” “an hour before”
“he thought of what she must “soon be a shade”
have been then” “for a moment”
“girlish beauty” “soon”
“no longer beautiful” “that would happen very soon”
Conclusion: G abriel moves from the distant past to the near future. He becomes aware of the
change in the marital relationship with his wife and with his own passage.

Your Turn
Now you choose a concept you are able to explore and defend that reveals Gabriel’s
character.
Concept:
Conclusion:
In response to the prompt, we have decided that the techniques/devices we will analyze are:
• Imagery • Style
• Diction • Motif
Here’s one technique/device and how it is developed in the passage. Again, notice that we
use our margin notes to trace this development.
Technique/Device: Imagery
the title “The Dead” Gabriel’s very name
“entered his soul” “braved death”
“fallen down” “good-night”
“in the snow” “would soon be a shade”
“dressed in black” “the blinds would be drawn”
“crying and blowing her nose”
Conclusion: T hese images foreshadow and emphasize that there is a coldness and
a loss in relationships and self-image.
Your Turn
Now you choose the technique/device you are able to explore and defend that reveals
Gabriel’s character.

Technique/Device:
Conclusion:
If you expand the above techniques/devices and categories into interpretive statements
KEY IDEA and support those statements with appropriate details that you’ve already isolated, you will
be writing a detailed essay.
Writing the Opening Paragraph

Your opening statement is the one that sets the tone of your essay and possibly raises the
expectations of the reader. Spend time on your first paragraph to maximize your score.
Make certain that your topic is very clear. This reinforces the idea that you fully under-
stand what is expected of you and what you will communicate to the reader. Generally,
identify both the text and its author in this first paragraph.
A suggested approach is to relate a direct quotation from the passage to the topic.
TIP
Consider the “philosophy of firsts.” It is a crucial strategy to spend focused time on the
first part of the question and on the first paragraph of the essay because:
1. It establishes the direction and tone of your essay.
2. It gives you the guidelines for what to develop in your essay.
3. It connects you to the reader.
Remember our philosophy: In the Beginning: if you focus on the beginning, the rest will
fall into place. A wonderful thing happens after much practice, highlighting, and note-
taking. Your mind starts to focus automatically. Trust us on this. It is the winning edge that
can take an average essay and raise it to a higher level.
Do this now. Take 5 minutes to write your opening paragraph for “The Dead” prompt.
Write quickly, referring to your notes.
Let’s check what you’ve written:
Highlight these • Have you included author and title? Yes No
points to see if you’ve • Have you addressed the character of Gabriel? Yes No
done them. You may
be surprised at what
is actually there.

• Have you specifically mentioned the techniques you will refer to in your essay?
Yes No
Here are four sample opening paragraphs that address all of the criteria:
A
In “The Dead” by James Joyce, the character Gabriel is revealed through diction,
point of view, and imagery as he watches his wife sleep.
B
Poor Gabriel! Who would have thought he knew so little about himself and his life.
And yet, in “The Dead,” James Joyce, through diction, point of view, and imagery, makes
it clear to the reader and to Gabriel that there is much to reveal about his
character.
C
“Yes, yes: that would happen very soon.” And, yes, very soon the reader of the excerpt
from Joyce’s “The Dead” gets to know the character of Gabriel. Through diction, point
of view, and imagery, we are introduced to Gabriel and what he thinks of himself.
D
“The Dead.” How apt a title. James Joyce turns his reader into a fly on the wall as
Gabriel is about to realize the many losses in his life. Death pervades the passage, from
his sleeping wife to his dying aunt.
Each of these opening paragraphs is an acceptable beginning to an AP Literature exam

KEY IDEA essay. Note what each of these paragraphs accomplishes:
• Each has identified the title and author.
• Each has stated which techniques/devices will be used.
• Each has stated the purpose of analyzing these techniques/devices.
Now, note what is different about each opening paragraph:
• Sample A restates the question without anything extra. It is to the point, so much so that
it does nothing more than repeat the question. It’s correct, but it does not really pique
the reader’s interest. (Use this type of opening if you feel unsure of or uncomfortable with
the prompt.)
• Sample B reveals the writer’s attitude toward the subject. The writer has already deter-
mined that Gabriel is flawed and indicates an understanding of how Gabriel’s character
is revealed in the passage.
• Sample C, with its direct quotation, places the reader immediately into the passage. The
reader quickly begins to hear the writer’s voice through his or her choice of words (diction).
• Sample D, at first glance, reveals a mature, confident writer who is not afraid to imply
the prompt’s criteria.
Note: There are many other types of opening paragraphs that could do the job as well.
The paragraphs above are just a few samples.
Into which of the above samples would you classify your opening paragraph?

Writing the Body

When you write the body of your essay, take only 20–25 minutes. Time yourself and try
your best to finish within that time frame.
Since this is practice, don’t panic if you can’t complete the essay within the allotted
time. You will become more and more comfortable with the tasks presented to you as you
gain experience with this type of question.
What Should I Include in the Body of the Prose Passage Essay?

1. Obviously, this is where you present your interpretation and the points you wish to
STRATEGY make that are related to the prompt.
2. Use specific references and details from the passage.
• Don’t always paraphrase the original; refer directly to it.
• Place quotation marks around those words and phrases that you extract from the
passage.
3. Use “connective tissue” in your essay to establish adherence to the question.
• Use the repetition of key ideas from your opening paragraph.
• Try using “echo words” (i.e., synonyms, such as death/loss/passing or character/
persona/personality).
• Create transitions from one paragraph to the next.
To understand the process, carefully read the following sample paragraphs. Each
develops one of the categories and techniques/devices asked for in the prompt. Notice the
specific references and the “connective tissue.” Also, notice that details that do not apply to
the prompt have been ignored.
A
This paragraph develops imagery.
Joyce creates imagery to lead his reader to sense the cloud of death that pervades
Gabriel’s world. From its very title “The Dead,” the reader is prepared for loss. Just what
has Gabriel lost: his wife, his confidence, his job, a friend, a relative, what? As his “wife
slept,” Gabriel sees her “half-open mouth” and “listens” to her “deep-drawn breath.” The
reader almost senses this to be a death watch. The images about the room reinforce this
sense of doom. One boot is “limp” and the other is “upon its side.” Picturing the future,
Gabriel sees a “drawing-room dressed in black” with blinds “drawn down” and his Aunt
Kate “crying” and “telling him how Julia had died.” And to underscore his own feelings of
internal lifelessness, he can only find “lame and useless” words of comfort.
B
This paragraph develops the motif of time.
Time is a constant from the beginning to the end of the passage. In the first para-
graph, Gabriel is in the present while thinking of the past. He is an observer, watching his
wife as he, himself, is observed by the narrator, and as we, as readers, observe the entire
scene. Time moves the reader and Gabriel through the experience. Immediately, we spend
a “few moments” with Gabriel as he goes back and forth in time assessing his relation-
ship with his wife. He recognizes she “had had romance in her life.” But, “it hardly pains
him now.” He thinks of what she had been “then” in her “girlish” beauty, which may
indicate his own aging. His “strange friendly pity,” because she is “no longer beautiful,”

may be self-pity, as well. In the next paragraph, we are with Gabriel as he reflects on his
emotional “riot” only an hour before. However, he jumps to the future because he can’t
sustain self-examination. He chooses to allow himself to jump to this future and a new
subject—Aunt Julia’s death. In this future, he continues to see only his inability and
incompetence. For Gabriel, all this will happen “very soon.”
C
This passage develops diction.
Gabriel appears to be a man who is on the outside of his life. Joyce’s diction reveals
his passive nature. Gabriel “looked on” and “watched” his wife sleeping. He spent time
“listening to her breath” and was “hardly pained by his role in her life.” His eyes “rest”
on her, and he “thinks of the past.” All of Gabriel’s actions are as weak as a “limp” and
“fallen down” boot, “inert in the face of life.” He is in direct contrast to Michael Furey,
who has “braved death.” And he knows this about himself. The narrator’s diction reveals
that Gabriel “did not like to say even to himself,” implying that he is too weak to face the
truth.
Later in the text, Gabriel’s word choice further indicates his insecurity. He is troubled
by his “riot of emotions,” his “foolish speech.” It is obvious that Gabriel will not take such
risks again.
D
This passage develops style.
Joyce’s very straightforward writing style supports the conclusions he wishes the
reader to draw about the character of Gabriel. Most sentences are in the subject/verb,
simple sentence form, reflecting the plain, uncomplicated character of Gabriel.
Joyce employs a third person narrator to further reinforce Gabriel’s detachment from
his own circumstances. We watch him observing his own life with little or no connec-
tion on his part. He wonders at his “riot of emotions.” All this is presented without Joyce
using obvious poetic devices. This punctuates the lack of “romance” in Gabriel’s life when
compared with that of Michael Furey.
TIP
Start a study group. Approach an essay as a team. After you’ve deconstructed the
prompt, have each person write a paragraph on a separate area of the question. Then
come together and discuss what was written. You’ll be amazed at how much fun this is
because the work will carry you away. This is a chance to explore exciting ideas.
Again, sharing your writing with members of your class or study group will allow
you to gain experience and find a comfort zone with requirements and possibilities.
We urge you to spend more time developing the body paragraphs than worrying about a
concluding paragraph, especially one that begins with “In conclusion,” or “In summary.”
In such a brief essay, the reader will have no problem remembering what you have already
stated. It is not necessary to repeat yourself in a summary-type final paragraph.
If you want to make a final statement, try to link your ideas to a particularly effective
line or image from the passage.
Note: Look at the last line of Sample B on motif. For Gabriel, all this will happen “very
soon.” This final sentence would be fine as the conclusion to the essay. A conclusion does
not have to be a paragraph. It can be the writer’s final remark or observation presented in
a sentence or two.

Do this now. Write the body of your essay. Time yourself. Allow 15–20 minutes to
complete this task.
Sample Student Essays

Following are two actual student essays followed by a rubric and comments on each. Read
both of the samples in sequence to clarify the differences between “high” and “mid-range”
essays.
Student Essay A
A picture is worth a thousand words, but James Joyce manages to paint a
pretty vivid one in only two short paragraphs. Joyce offers tremendous insight into
the character of Gabriel in the short story “The Dead.” He captures the essence of a
scene laden with death and laced with tones of despair and hopelessness. By
employing third person narration alternating with a stream of consciousness, Joyce 5
demonstrates his abilities to delve deep into Gabriel’s mind, illustrating this
somewhat detached disposition and low self-image.
The passage takes us through Gabriel’s reflections upon past, present, and
future events while his inner character unfolds. Joyce’s careful use of diction
suggests that Gabriel has emotionally closed himself off to the world as he tries to 10
cope with some aforementioned incident. He was “hardly pained” to think about a
situation which caused a “riot of emotions” just a little earlier on that evening.
Here, Joyce is emphasizing Gabriel’s way of coping with an unfavorable event by
blocking it out. He continues to “unresentfully” reflect upon what had occurred,
closing himself off from any pain he obviously experienced a short while ago. 15
With the powerful omniscience of a third-person narrator, Joyce is able to
describe the workings of Gabriel’s inner consciousness without writing from the first-
person point of view. Gabriel further detaches himself as he thinks about his wife.
He watches her from the point of view of an outsider, as if they were never married.
The mere fact that Gabriel is able to do this suggests that he and his wife do not 20
have a truly loving relationship. This assertion is underscored by the “friendly” pity
Gabriel feels for his wife, emphasizing the lack of true love in their relationship.
Gabriel later questions his wife’s honesty, further emphasizing a troubled
relationship. The reader may be inclined to infer that Gabriel is completely devoid of
compassion; however, this idea is refuted. Gabriel proceeds to express an element 25
of sorrow when he thinks back to his wife’s youth and beauty.
The evening’s events had evidently triggered some type of emotional outburst
which Gabriel cannot stop thinking about. His mental state is paralleled by the
chaotic state of disorder in the room he is in. With a masterful control of language
and syntax, Joyce describes in short, choppy sentences the array of clothing strewn 30
around the room. This is followed by one of the longest sentences in the passage.
Joyce reveals this series of events all at once, paralleling Gabriel’s release of a
multitude of emotions at once.
Joyce weaves a motif of darkness and death into the story. His aunt’s
“haggard” appearance ironically catches Gabriel’s attention during the recitation of 35
Arrayed for the Bridal, a seemingly happy song. This image of happiness and

marriage is further contrasted with images of the woman’s funeral and a detailed
description of how Gabriel will mourn for her. Joyce also takes time to underscore
Gabriel’s low self-esteem, in that he will only think of “lame and useless” words at a
time when comforting tones are necessary. He is essentially describing himself, 40
since it has been established that he failed as a husband and that he is emotionally
distraught even though he blocks out the pain he feels. “The blinds would be drawn
down,” Gabriel says, as he describes both the room at his aunt’s funeral and his
mental state of affairs.
The true originator of “stream-of-consciousness” techniques, Joyce delves 45
deep into Gabriel’s mind, describing his wide range of emotions and state of mind.
His powerful diction reveals a great deal about Gabriel’s character while his implied
insights penetrate into the reader’s mind, reinforcing the abstract meanings behind
the actions and events that transpire throughout the course of his story.
Student Essay B
In the excerpt from the short story “The Dead” from Dubliners by James
Joyce, the author describes some personality traits of the character Gabriel as he
sits watching a sleeping woman. The point of view from which this excerpt is
expressed helps the reader to get to know Gabriel because the narrator is omniscient
and knows how Gabriel perceives things and what he is thinking. With the use of 5
many literary devices such as imagery, diction, and syntax, the reader is able to see
that Gabriel is an observant and a reflective person, but he is also detached.
Gabriel comes across as observant, because throughout the entire passage he
is observing a woman, his wife, sleeping. He scans the room looking over
everything and taking note of everything. An example of this is looking at “her 10
tangled hair and half-open mouth, listening to her deep-drawn breath.” The author
uses the technique of syntax (“deep-drawn breath” and “half-open mouth”) in the
above quotation to show us exactly what Gabriel is seeing. Gabriel notices many
details, and they are described so that the reader can clearly formulate a picture of
what he is gazing at. This imagery can be seen in lines such as the one where the 15
woman’s boots are being described. “One boot stood upright, its limp upper fallen
down: the fellow of it lay upon the side.” The diction used such as “limp” and
“upright,” are concrete words that create clear pictures. Another reason that Gabriel
comes across as observant is because he catches and notices little things. For
example, he “caught” the “haggard look” on his Aunt Julia’s face. 20
Resulting from the fact that Gabriel is observant, he is also reflective. He
thinks over past events that had happened and wonders what caused them and why
he did what he did. In the first paragraph he reflects on his wife’s “fading beauty,”
what she used to look like, and the story of the death of Michael Furey. He realizes
that it is a possibility that she had not told him the entire story concerning the boy’s 25
death. He further reflects when he is thinking about his emotional outburst. He
asks himself many questions including “From what had it proceeded?”
A feeling of detachment is also present. The way he looks at his wife “as
though he and she had never lived together as man and wife” shows that he is
viewing his own life from an objective standpoint. He is able to look at his own life 30
as though it wasn’t his. The sentence that reads “it hardly pained him now to think
how poor a part he, her husband, had played in her life,” further exemplifies this feeling
of detachment. Feelings that he used to feel no longer even touched him. He was able
to recognize them, yet remain separate. In the second paragraph Gabriel continues

to come across as remote. He is able to picture and describe in great detail the 35
death and funeral of his Aunt Julia. He narrates the future drastic event in a
matter-of-fact way. Gabriel goes so far as to describe what he will be thinking at
the time of his Aunt Julia’s death which is “he would cast about in his mind for some
words that might console her (his Aunt Kate), and would find only lame and useless
ones.” This statement finalizes the idea that Gabriel is a person who is, at least to 40
some degree, detached from his own life.
Even though the passage is fairly short, the author is able to impart a fair
amount of information concerning the character Gabriel. It becomes apparent that
he possesses the qualities of observance, reflection, and detachment. These
qualities are all interconnected because of the fact that he is observant leading to 45
his ability to reflect on his actions and actions of others. This in turn leads to his
detachment, because when he reflects on his life he does it from the standpoint of a
third-person narrator. The author’s use of literary techniques helps to convey these
personality traits of Gabriel to a reader.
Let’s take a look at a set of rubrics for this prose passage essay. (If you want to see actual
AP rubrics as used in a recent AP Lit exam, log on to the College Board website: <www
.collegeboard.org/ap>.) As you probably know, essays are rated on a 9–1 scale, with 9 the
highest and 1 the lowest. Since we are not with you to personally rate your essay and to
respond to your style and approach, we will, instead, list the criteria for high-, middle-, and
low-range papers. These criteria are based on our experience with rubrics and reading AP
Literature exam essays.
A high-range essay can be a 9 or an 8. Middle refers to essays in the 7, 6, 5 range. And
the low-scoring essays are rated 4, 3, 2, 1.
After reading the following rubrics, evaluate the two essays that you have just read.
Rating the Student Essays

High-Range Essay (9–8)
• Indicates complete understanding of the prompt.
KEY IDEA • Distinguishes between what Gabriel acknowledges about himself and what the reader
comes to know about him.
• Explores the complexity of Gabriel’s character.
• Identifies and analyzes Joyce’s literary techniques, such as imagery, diction, point of view,
motif, and style.
• Cites specific references to the passage.
• Illustrates and supports the points being made.
• Is clear, well-organized, and coherent.
• Reflects the ability to manipulate language at an advanced level.
• Contains only minor errors or flaws, if any.

Note: Rarely, can a 7 essay make the jump into the high range because of its more
mature style and perception.
Middle-Range Essay (7–6–5)

• Refers accurately to the prompt.
• Refers accurately to the literary devices used by Joyce.
• Provides a less thorough analysis of Gabriel’s character than the higher-rated paper.
• Is less adept at linking techniques to the purpose of the passage.
• Demonstrates writing that is adequate to convey the writer’s intent.
• May not be sensitive to the implications about Gabriel’s character.
Note: The 7 paper demonstrates a more consistent command of college-level writing

than does the 5 or 6 paper.
A 5 paper does the minimum required. It relies on generalizations and sketchy
analysis. It is often sidetracked by plot, and the references may be limited or simplistic.
Low-Range Essay (4–3–2–1)

• Does not respond adequately to the prompt.
• Demonstrates insufficient and/or inaccurate understanding of the passage.
• Does not link literary devices to Gabriel’s character.
• Underdevelops and/or inaccurately analyzes literary techniques.
• Fails to demonstrate an understanding of Gabriel’s character.
• Demonstrates weak control of the elements of diction, syntax, and organization.
Note: A 4 or 3 essay may do no more than paraphrase sections of the passage rather than
analyze Gabriel’s character.
A 2 essay may merely summarize the passage. (No matter how well written, a sum-
mary can never earn more than a 2.)
A 1–2 essay indicates a major lack of understanding and control. It fails to compre-
hend the prompt and/or the passage. It may also indicate severe writing problems.
How would you rate these essays?

Now, compare your evaluation of the two student essays with ours.
Student Essay A
This is a high-range paper for the following reasons:
KEY IDEA
• Is on task.
• Shows complete understanding of the prompt and the passage.
• Indicates perceptive, subtle analysis (line 8).
• Maintains excellent topic adherence (lines 9, 17, 28, 39).
• Uses good “connective tissue” (repetition of key words).
• Chooses good specific references (lines 11, 12, 21, 35).
• Knows how to distinguish between the author and the narrator.
• Understands point of view well.
• Makes suggestions and inferences (lines 7, 20).
• Demonstrates good critical thinking.
• Is perceptive about syntax and the style of the author (lines 27–33).

• Links techniques with character (line 34).

• Demonstrates mature language manipulation (line 34).
• Understands function of diction and motif (lines 40–44).
TIP
It’s best to omit extraneous judgmental words from your essay (line 45).
This is obviously a mature, critical reader and writer. Using subtle inferences and impli-
cations, the writer demonstrates an understanding of the character of Gabriel both as Joyce
presents him and as Gabriel views himself. There is nothing extraneous or repetitious in this
essay. Each point leads directly and compellingly to the next aspect of Gabriel’s character.
This is definitely a strong, high-range essay.
Student Essay B
This is a middle-range essay for the following reasons:
KEY IDEA
• Sets up an introduction which indicates the techniques that will be developed, but
neglects to clearly set up the required discussion of how Gabriel views himself.
• Immediately establishes that the essay will address Gabriel’s character as drawn by the
narrator and seen by the reader.
• Addresses three aspects of Gabriel’s character without fully developing the analysis of
literary techniques.
• Adheres to the essay’s topic.
• Uses “connective tissue” (lines 21, 28).
• Uses “echo words” (lines 8, 9, 10).
• Uses citations from the passages.
• Isolates some details to illustrate Gabriel’s character (lines 31–32, 39).
• Confuses syntax with diction (lines 12–13).
• Lacks development of literary technique in paragraph 4.
• Displays faulty diction and syntax.
• Does not develop an important part of the prompt—how Gabriel views himself.
• Incorporates faulty logic at times (lines 44–49).
This essay is a solid, middle-range paper. The writer has a facility with literary analysis.
Even though there are flashes of real insight, they are not sustained throughout the essay.
There is a strong opening paragraph which makes it clear to the reader what the topic of the
paper is. The writer obviously grasps Gabriel’s character and the needed details to support
the character analysis. But the weakness in this paper is the writer’s incomplete development
of the relationship of literary techniques to character analysis.
Note: Both essays have concluding paragraphs that are repetitive and largely unneces-
sary. It is best to avoid this type of ending.
Your Turn
How about sharing Try a little reverse psychology. Now that you are thoroughly familiar with this passage,
these samples with construct two or three alternative prompts. (Walk a little in the examiner’s shoes.) This will
members of your class help you gain insight into the process of test-making. Create two questions of your own.
or study group and (See the Types of Prose Passage Essay Questions section of this chapter for ideas.)
discussing possible
responses?

1st alternative prompt for “The Dead”
2nd alternative prompt for “The Dead”
Rapid Review
After you’ve absorbed the ideas in this chapter, the following points will provide you with
a quick refresher when needed:
• Familiarize yourself with the types of prose questions (prompts).
• Highlight the prompt and understand all the required tasks.
• Time your essay carefully.
• Spend sufficient time “working the passage” before you begin writing.
• Mark up the passage.
• Create a strong opening paragraph.
• Refer often to the passage.
• Use concrete details and quotes to support your ideas.
• Always stay on topic.
• Avoid plot summary.
• Include transitions and echo words.
• Check the models and rubrics for guidance for self-evaluation.
• Practice—vary the question and your approach.
• Share ideas with others.

CHAPTER
6
The Poetry Essay
IN THIS CHAPTER
Summary: Examination of the poetry essay and its purpose as it is
presented in the AP English Literature exam
KEY IDEA Key Ideas

✪ Learn the types of poetry prompts you might encounter in the AP English
Literature exam
✪ Learn the basics of reading and notating a given poem
✪ Learn the basics of constructing your response to the poetry prompt
✪ Learn about the rubrics and rating of the AP poetry essays
✪ Examine model student essays
✪ Learn how rubrics were used to rate student essays
Introduction to the Poetry Essay

It’s obvious to any reader that poetry is different from prose. And, writing about each is
different also. This chapter will guide you through the expectations and processes associated
with the AP Poetry section.
What Is the Purpose of the Poetry Essay?

The College Board wants to determine your facility in reading and interpreting a sustained
KEY IDEA piece of literature. You are required to understand the text and to analyze those techniques
and devices the poet uses to achieve his or her purpose.
The AP Lit exam is designed to allow you to demonstrate your ease and fluency with
terminology, interpretation, and analysis. The level of your writing should be a direct
reflection of your critical thinking.
❮ 77

The AP Lit exam is looking for connections between analysis and interpretation. For
example, when you find a metaphor, you should identify it and connect it to the poet’s
intended purpose or meaning. You shouldn’t just list items as you locate them. You must
connect them to your interpretation.
TIP
Before beginning to work with an actual poem, read the review of processes and terms
in the Comprehensive Review section of this book. Make certain to complete some of
the activities in that section.
Types of Prompts Used for the Poetry Essay

Not every poetry essay prompt is the same. Familiarizing yourself with the various types is
critical. This familiarity will both increase your confidence and provide you with a format
for poetry analysis.
What Kinds of Questions Are Asked for the Poetry Essay?

Let’s look at several typical questions that have been used as prompts for the poetry essay
on the AP Literature exam in the past:
• How does the language of the poem reflect the speaker’s perceptions, and how does that
KEY IDEA language determine the reader’s perception?
• How does the poet reveal character? (i.e., diction, sound devices, imagery, allusion)
• Discuss how poetic elements, such as language, structure, imagery, and point of view,
convey meaning in a poem.
• Relate the imagery, form, or theme of a particular section of a poem to another part of
that same poem. Discuss changing attitude or perception of speaker or reader.
• Analyze a poem’s extended metaphor and how it reveals the poet’s or speaker’s attitude.
• Discuss the way of life revealed in a poem. Refer to such poetic elements as tone, imagery,
symbol, and verse form.
• Discuss the poet’s changing reaction to the subject developed in the poem.
• Discuss how the form of the poem affects its meaning.
• NOTE: There will be NO “paired poem prompts” on the exam.
You should be prepared to write an essay based on any of these prompts. Apply these
questions to poems you read throughout the year. Practice anticipating questions. Keep a
running list of the kinds of questions your teacher asks. Practice. Practice.
Timing and Planning the Poetry Essay

Successful writing is directly related to both thought and structure, and you will need to
consider the following concepts related to pre-writing.
AP English Literature 2018_CHAP_001-212.indd 78 3/1/18 2:43 PM

The Poetry Essay ❮ 79
How Should I Plan to Spend My Time Writing the Poetry Essay?

Remember, timing is crucial. With this in mind, here’s a workable strategy:
• 1–3 minutes reading and “working the prompt.”
STRATEGY • 5 minutes reading and making marginal notes about the poem. Try to isolate two refer-
ences that strike you. This may give you your opening and closing.
• 5–10 minutes preparing to write. (Choose one or two of the following methods that you
feel comfortable with.)
• Highlighting, underlining, circling, bracketing
• Marginal mapping (see Chapter 5 for samples)
• Key word/one word/line number outlining
• Numerical clustering
• 20–25 minutes to write your essay, based on your preparation.
Working the Prompt

It is important to understand that the quality of your essay greatly depends upon your cor-
rectly addressing the prompt.
How Should I Go About Reading the Poetry Prompt?

As we did in the prose section, we will deconstruct a poetry essay prompt for you now.
(This is the same question that is in the Diagnostic/Master exam earlier in this book.)
You should plan to spend 1–3 minutes carefully reading the question. This will give you
time to really digest what the question is asking you to do.
Here’s the prompt:
In “On the Subway,” Sharon Olds brings two worlds into close proximity. Identify the
contrasts that develop both portraits in the poem and discuss the insights the narrator
comes to as a result of the experience. Refer to such literary techniques as tone, poetic
devices, imagery, and organization.
TIP
In the margin, note what time you should be finished with this essay. For example, the
test starts at 1 p.m. You write 1:40 in the margin. Time to move on.
Here are three reasons why you should do a 1–3-minute careful analysis of the prompt:
1. Once you know what is expected, you will read in a more directed manner.
2. Once you internalize the question, you will be sensitive to the details that will apply as
you read the poem.
3. Once you know all the facets that need to be addressed, you will be able to write a
complete essay that demonstrates adherence to the topic.
Do this now. Highlight, circle, or underline the essential terms and elements in the
prompt. Time yourself. How long did it take you?
Compare our highlighting of the prompt with yours.

In “On the Subway,” Sharon Olds brings two worlds into close proximity. Identify
the contrasts that develop both portraits in the poem and discuss the insights the
narrator comes to as a result of the experience. Refer to such literary techniques as
tone, poetic devices, imagery, and organization.
In this prompt, anything else you may have highlighted is extraneous.
KEY IDEA
When the question uses the expression “such as,” you are not required to use only those
ideas presented; you are free to use your own selection of techniques and devices. Notice
that the prompt requires more than one technique. One will not be enough. You must
use more than one. If you fail to use more than one technique, no matter how well you
present your answer, your essay will be incomplete.
Reading and Notating the Poetry Selection

Finally, read the poem. Depending on your style and comfort level, choose one of these
approaches to your reading:
1. A. Read quickly to get the gist of the poem.
STRATEGY B. Reread, using the highlighting and marginal notes approach.
2. A. R ead slowly, as if speaking aloud. Let the structure of the poem help you with mean-
ing. (See the terms enjambment and caesura in the Glossary at the back of this book.)
B. Reread to confirm that you understand the full impact of the poem. Do your high-
lighting and make marginal notes.
Note: In both approaches, you must highlight and make marginal notes. There is no
way to avoid this. Ignore what you don’t immediately understand. It may become clear to
you after reading the poem. Practice. Practice. Concentrate on those parts of the poem that
apply to what you highlighted in the prompt.
There are many ways to read and interpret any poetry. You have to choose your own
approach and which specifics to include for support. Don’t be rattled if there is leftover
material.
We’ve reproduced the poem for you below so that you can practice both the reading
and the process of deconstructing the text. Use highlighting, arrows, circles, underlining,
notes, numbers, and whatever you need to make the connections clear to you.
Do this now. Spend 8–10 minutes working the material. Do not skip this step. It is time
well spent and is a key to the high-score essay.
On the Subway
by Sharon Olds

laced with white in a complex pattern like a
set of intentional scars. We are stuck on

“When I read opposite sides of the car, a couple of 5

poetry out loud, molecules stuck in a rod of light
it’s easier for me to rapidly moving through darkness.
understand it.” He has the casual cold look of a mugger,
—Jennifer L.
AP student
know if I am in his power— 15
living off his life, eating the steak
he does not eat, as if I am taking 20
the food from his mouth. And he is black
and I am white, and without meaning or
trying to I must profit from his darkness,
the way he absorbs the murderous beams of the
nation’s heart, as black cotton 25
white skin makes my life, this
break across his knee like a stick the way his 30
own back is being broken, the
fluid and rich as the heart of a seedling
ready to thrust up into any available light
Now compare your reading notes with what we’ve done below. Yours may vary from
KEY IDEA ours, but the results of your note-taking should be similar in scope.
On the Subway
by Sharon Olds
first part = narrator as
observer first person oppositions
laced with white in a complex pattern like a dark
light set of intentional scars. We are stuck on no control
violence? opposite sides of the car, a couple of 5
molecules stuck in a rod of light

opposite sides of
the “tracks” rapidly moving through darkness. light and dark
metaphor

He has the casual cold look of a mugger. narrator’s fear

metaphor
simile surgical, clinical, autopsy
hunting and skinning
violence
know if I am in his power— fear of
possible 15
violence
break!!! could living off his life, eating the steak
narrator be the animal imagery—again 20
aggressor? looks for he does not eat, as if I am taking hunting and skinning
deeper implications the food from his mouth. And he is black
and I am white, and without meaning or light and dark imagery
narrator as trying to I must profit from his darkness,
philosopher? the way he absorbs the murderous beams of the judgmental
nation’s heart, as black cotton simile 25
light and dark
light and dark
white skin makes my life, this guilt!
break across his knee like a stick the way his simile 30
reference to own back is being broken, the
slavery?
simile
reference to fluid and rich as the heart of a seedling
light and dark
discrimination? ready to thrust up into any available light
After you have marked the poem, review the prompt. When you look at your notes,
STRATEGY certain categories will begin to pop out at you. These can be the basis for the development
of the body of your essay. For example:
• Light and dark imagery • Animal imagery
• Speaker’s insights • Implied violence
• Contrast in status • Shift in middle of poem
• Metaphors • Similes
Here’s how we saw one category develop in the poem. Notice that we have ignored
notes that did not apply to the prompt.

Category: Light and dark imagery

Examples:
“black sneakers” “laced with white” “rod of light”
“moving through darkness” “profit from his darkness” “he is black”
“and I am white” “heat of the sun” “murderous beams”
“black cotton” “thrust up into any “dark and fluid”
“how easy this white skin available light”
makes my life”
Comment: T he use of black and white imagery emphasizes the opposite ends of the spectrum
represented by the speaker and the boy.
Your Turn
Now you choose a category that seems to pop out at you and trace its use through the
poem.
Category:
Examples:
Comment:

We chose to examine poetic devices used in “On the Subway.”
Category: Poetic devices

Examples:
Simile lines 3–4 “complex … scars”
Metaphor lines 4–6 “We are … molecules”
Simile lines 9–11 “He is wearing … exposed”
Simile lines 24–26 “he absorbs … holds it”
Simile lines 29–30 “he could … stick”
Simile line 32 “rod of his soul”
Simile lines 32–34 “rod of his soul … light”
Comment: B y definition, similes and metaphors are comparisons. The poet uses these
comparisons to develop and flesh out the juxtaposition of the life and situation of the
speaker and the boy.
Your Turn
Refer to this chapter’s earlier section about the types of poetry prompts to expect on the
exam. Construct two alternative prompts for Sharon Olds’s “On the Subway.”
1st Alternative prompt:
2nd Alternative prompt:

Notice that we have ignored notes that did not apply to the prompt.
Now choose the techniques that develop the contrasting portraits and reveal the nar-
rator’s perceptions.
In response to the prompt, we have decided that the techniques/devices we will analyze
are:
• Imagery
• Poetic devices
• Organization
If you expand the above techniques/devices and the above categories into interpretive
KEY IDEA statements and support those statements with appropriate details that you’ve already iso-
lated, you will be writing a defended essay.
Writing the Opening Paragraph

Your opening statement is the one that sets the tone of your essay and possibly raises the
expectations of the reader. Spend time on your first paragraph to maximize your score.
Make certain that your topic is very clear. This reinforces the idea that you fully under-
STRATEGY stand what is expected of you and what you will communicate to the reader. Generally,
identify both the text and the poet in this first paragraph.
Do this now. Take 5 minutes to write your opening paragraph for the prompt. Write
quickly, referring to your notes.
Let’s check what you’ve written.
Highlight these • Have you included the poet and the title?
points to see if you’ve
done them. You may
• Have you addressed the portraits, contrasts, and insights?
be surprised at what • Have you specifically mentioned the techniques you will refer to in your essay?
is actually there. Here are three sample opening paragraphs that address each of the above criteria.
A
Sharon Olds in the poem, “On the Subway,” presents a brief encounter between two
people of different races which leads to several insights of one participant. This is accom-
plished through Olds’s use of poetic devices, imagery, and imagination.
B
The observer and the observed. One has control over the other. In her poem, “On
the Subway,” Sharon Olds asks her readers to enter the mind of a white woman who
observes a young, black man as they travel together, neither knowing the other. Using
poetic devices, imagery, and organization, Olds takes the reader on a ride through the
contrasts and images that spark the imagination of the white onlooker.
C
“And he is black and I am white” establishes the basic contrast and conflict in Sharon
Olds’s poem, “On the Subway.” Through imagery, organization, and poetic devices, Olds
creates two contrasting portraits. The narrator’s confrontation becomes the reader’s also as
she reveals her troubling fears and insights through her images and comments concerning
her encounter with the black youth.

These three introductory paragraphs identify the poet and the title and clearly indicate
an understanding of the prompt. Now, let’s note what is different about each.
Sample A is a straightforward, unadorned restatement of the prompt. It is correct, yet
lacks a writer’s voice. (If you are unsure of how to proceed, this is the type of opening you
may want to consider.) This type of opening paragraph will at least allow you to get into
the essay with as little complexity as possible.
Sample B immediately reveals the writer’s confidence and mature writing style. The
prompt is addressed in a provocative and interesting manner, letting the reader know the
tone of the essay.
Sample C incorporates a direct quotation from the poem which indicates the writer is
comfortable with citation. The writer also links the reader with the poem and feels confi-
dent that his or her judgments about the encounter are supportable.
Note: There are many other types of opening paragraphs that could do the job as well.
The paragraphs above are just a few samples.
Does your opening paragraph resemble any of these samples?
Yes No
Writing the Body of the Poetry Essay

When you write the body of your essay, take only 15–20 minutes. Time yourself and try
your best to finish within that time frame.
Since this is practice, don’t panic if you can’t complete the essay within the allotted
time. You will become more and more comfortable with the tasks presented to you as you
gain experience with this type of question.
What Should I Include in the Body of the Poetry Essay?

2. Use specific references and details from the poem.
• Refer directly to the original. Don’t always paraphrase.
• Place quotation marks around those words and phrases that you extract from the
poem.
3. Use “connective tissue” in your essay to establish adherence to the question.
• Use the repetition of key ideas from your opening paragraph.
• Try using “echo words” (i.e., synonyms such as insight can be inference/observation/
perception; fear can be apprehension/insecurity).
• Create transitions from one paragraph to the next.
To understand the process, carefully read the following sample paragraphs. Each
develops one of the categories and techniques/devices asked for in the prompt. Notice the
specific references and the “connective tissue.” Also, notice that details that do not apply to
the prompt have been ignored.

A
This paragraph develops poetic devices.
“Black sneakers laced with white in a complex pattern like a set of intentional scars”
is the jarring simile Olds uses to establish the relationship between the woman and the
“boy” on the subway. Immediately, the poetic device implies the bondage and pain of the
oppressed minority and the deliberate complexity of race relations. This idea of inter-
woven lives is further developed by the metaphor that links both as “molecules stuck in
a rod of light.” The youth, however, is compared to a reptile with “hooded lids,” and all
the fear and repulsion associated with this creature is transferred to the boy who is hiding
his true intentions with such a look. The woman follows her fearful insights with still
another extreme simile—worrying about “this life he could take so easily and break across
his knee like a stick.” Still, she proves the complexity of her thoughts by creating a sym-
pathetic metaphor to ponder “the rod of his soul—the heart of a seedling” yearning to
grow into the light.
B
This paragraph develops imagery.
The images in the poem are predominantly drawn from the contrast between light
and dark. “Black sneakers,” “white laces,” “rod of light rapidly moving through darkness”
are all images that immediately establish the contrast that is at the heart of the meaning
of the poem. This juxtaposition becomes reality in lines 21–22 when we learn that “he is
black and I am white.” The problem is how the “white” profits from his “darkness.”
[line 23] What should be light, “the beams of the nation’s heart,” is murderous, and he
“as black cotton,” absorbs this heat. This angry contrast leads the speaker to her insight
about her life in lines 26–28. Empathizing with the black youth, the narrator moves
beyond her prejudices and finds promise in the last three lines which see the dark being
born into the light.
C
This paragraph develops organization.
The organization of “On the Subway” is rather linear. Olds’s narrator proceeds from
a frightened observer to a philosophical questioner to finally a mature, sympathetic fore-
caster of the promise of the young, black man. The first thirteen lines provide the interior
monologue of a woman who sits across from a young, black male and looks him over
from head to toe. In line 10 she begins to move deeply into the hidden person across
from her, with this “introspection” ending in lines 14–16 with her questioning who actu-
ally has power over whom. Line 18 presents a true shift from personal observation to an
almost societal conscience which is sympathetic to the plight of all blacks in America as
seen in lines 21–26. Bringing the reader back to the opening section of the poem, the
speaker intimates at the promise of the young man with “the rod of his soul . . . rich as
the heart of a seedling/ready to thrust up into any available light.” [lines 32–34]
TIP
Refer to our list of recommended poets at the back of this book. Look for poems similar
in length and complexity to those we’ve provided and apply a variety of prompts. You
can try these alone, with a study group, or with your class.

Note: Look at the last sentence of Sample B on imagery: “Empathizing with the black
youth, the narrator moves beyond her prejudices and finds promise in the last three lines
which see the dark being born into the light.”
This final sentence would be fine as the conclusion to the essay. A conclusion does not
have to be a paragraph. It can be the writer’s final remark, observation, or reference and
may be only a sentence or two.
complete this task.

Following are two actual student essays followed by a rubric and comments on each.
Student Essay A
The three sections of “On the Subway” by Sharon Olds express the complicated
relationship between Caucasians and African-Americans. In the first section
the author presents an exposition that contrasts a white person with a black (lines 1–13).
In the second, the speaker begins to develop the apparent disparities so that
inter-relationships emerge (lines 13–20). In the third, the narrator gains insight 5
into how this scene is representative of American culture at large (lines 20–34).
The imagery Olds uses in the first section emphasizes the difference between
the white woman who is the narrator and the observer and the black boy, who is
the observed, as they ride the subway. The shoes he is wearing are black “laced with
white” (line 3). The speaker describes the white zigzags as “intentional scars” 10
(line 4). The scars allude to the discrimination against the black man by white society.
The adjective “intentional” denotes that whites purposely harm blacks. The image
contrasts whites with blacks: whites are powerful; blacks are subservient. Similarly,
the two characters are described as being “stuck on opposite sides” of the subway
car; they are separated permanently from each other (lines 4–5). The description of the 15
clothing is a third contrasting element. Here, the black man is “exposed,” while the
speaker is covered in fur (line 11). This image reinforces the opposition between the
white woman and the black boy.
The second section sees a shift in tone. Where the first section is composed of
finite physical descriptions, the second is more philosophical and indicates the 20
speaker’s apprehension. She is uncertain and writes that “I don’t/know if I am in
his power . . . or if he is in my power” (lines 14–15, 18). Such a statement is important
because it illustrates that the boundaries between whites and blacks are not as clearcut
as they may seem. Perhaps the speaker begins to realize that the image of the
subservient black and the powerful white presented in the first section of the poem 25
is incorrect. The repetition of the word “Life” is another way the interconnection
between the two characters is developed. The narrator cannot decide whether her
wealth usurps the power of the black man or whether his potential aggression usurps
her power (lines 17, 19).

The tone, again, shifts in the third segment. Here, it is clear that the speaker is 30
trying to gain an understanding of the relationship between the white world and that
of the black boy. At first, she realizes that they are different because “he is black
and I am white” (lines 21–22). The image of the “black cotton” alludes to slavery, once
again referring to the scars, or distinctions, imposed by the white society. Yet, at
the end of this section, the differences between the two people are strangely 35
reconciled. This is accomplished using the technique of repetition. Instead of
repeating a word as in the second section, an image is repeated. Lines 29–31 state
that the black man could hurt the white woman; he could “break [her] across his
knee . . . the way his own back is being broken.” In other words, both whites and
blacks can hurt; both races can be injured by either repression or aggression, and so 40
they are connected through their pain and unrealized dreams.
Student Essay B
In the poem “On the Subway” by Sharon Olds, she contrasts the worlds of an
affluent white person and a poor black person. The two people have many opposing
characteristics, and the author uses literary techniques such as tone, poetic devices,
and imagery to portray these differences. The narrator is the white woman, and 5
she realizes how people get “stuck” in places of society based on their skin color.
The word “stuck” is repeated twice to stress this idea.
The major difference between the two people is obviously their skin color. This
one difference causes many aspects of each person’s life to be unlike the other’s. The
white woman is above the black man in the eyes of much of society. The narrator 10
states that “without meaning or trying to I must profit from his darkness.” This is
basically saying that the black man is living in a white man’s world, where his skin
color alone has given him a predisposition in the eyes of many. This idea is further
supported when the speaker thinks “There is no way to know how easy this white skin
makes my life.” Olds uses the following simile to show the black man’s situation: 15
“. . . he absorbs the murderous beams of the nation’s heart, as black cotton absorbs
the heat of the sun and holds it.”
Another contrast that is in the poem is the rawness of the black man versus the
sheltered and refined look of the white woman. Olds uses a simile to describe the red
that the black youth is wearing: “Like the inside of the body exposed.” The white 20
woman is the outside of the animal wearing a fur coat. The black man is the inside
of the body, the true animal, while the white woman is not; she is simply wearing
the outer covering of an animal.
As a result of this experience, the narrator realizes that there is a balance of
power and control between her and the young man. She realizes that at times, and
in certain situations, she rules, while in others the black man does. Her life, her 25
“easier” life, can be taken away by the black youth. Who has the power on the train?
The big, strong, raw black man or the weaker, but richer, white woman? Society has
given the white woman a false sense of superiority and security. She is protected by
wealth, her job, and her possessions, but when alone on the subway with this
black man, she feels fear. She is confronted by her own vulnerability. The black 30
youth who is being broken by society can break the white woman who is society.
Overall, this poem effectively contrasts the two people and exposes a fallacy of
society. The black man must live in eternal darkness because he is never allowed
to “thrust up into any available light.”


Let’s take a look at a set of rubrics for the poetry essay.
KEY IDEA A 9 essay has all the qualities of an 8 essay, and the writing style is especially mature,
as is the interpretation and/or discussion of the specifics related to the prompt and poem.
An 8 essay will effectively and cohesively address the prompt. It will cite appropriate
devices called for in the question. And, it will do so using appropriate evidence from the
poem. The essay will indicate the writer’s ability to interpret the poem and/or poet’s attitude
toward the subject in a clear and mature style.
A 7 essay has all the properties of a 6, only with more complete, well-developed inter-
pretation and/or discussion or a more mature writing style.
A 6 essay adequately addresses the prompt. The interpretation and/or discussion is on
target and makes use of appropriate specifics from the test. But these elements are less fully
developed than scores in the 7, 8, or 9 range. The writer’s ideas are expressed with clarity,
but the writing may have a few errors in syntax and/or diction.
A 5 essay demonstrates that the writer understands the prompt. The interpretation/
discussion is generally understandable but is limited or uneven. The writer’s ideas are
expressed clearly with a few errors in syntax or diction.
A 4 essay is not an adequate response to the prompt. The writer’s interpretation/discus-
sion of the text indicates a misunderstanding, an oversimplification, or a misrepresentation
of the given poem. The writer may use evidence that is not appropriate or not sufficient to
support the interpretation/discussion.
A 3 essay is a lower 4 because it is even less effective in addressing the prompt. It is also
less mature in its syntax and organization.
A 2 essay indicates little success in speaking to the prompt. The writer may misread the
question, only summarize the poem, never develop the required interpretation/discussion,
or simply ignore the prompt and write about another topic altogether. The writing may
also lack organization and control of language and syntax. (Note: No matter how good a
summary is, it will never rate more than a 2.)
A 1 essay is a lower 2 because it is even more simplistic, disorganized, or lacking in
control of language and syntax.
Note: The essay is really a first draft. The readers know this and approach each essay
with this in mind.
Student Essay A
This is a high-range essay (9–8) for the following reasons:
“Even though I hate • A sophisticated, indirect indication of the task of the prompt and organization.
doing it, my writing • Tightly constructed and thorough discussion of the contrasts and opposition in the poem.
really improves when • Effective analysis of imagery (lines 1–13, 15–17).
I spend the time • Effective and coherent discussion of tone.
revising what I’ve • Understanding of the subtleties of tone (lines 19–21).
written.” • Strong support for assertions and interpretations (lines 22–29).
—Mike T.
AP student
• Effective analysis of literary techniques (lines 11, 33–34, 36–38).
This high-ranking essay is subtle, concise, and on target. There is nothing that takes
away from the writer’s focus. Each paragraph grows out of the previous one, and the reader

always knows where the author is taking him or her. The syntax, diction, and organization
are mature and confident.
Student Essay B
This is a middle-range essay (7–6–5) for the following reasons:
• Clearly identifies the task, the poem, and the poet.
• States the techniques that will be discussed in the essay.
• Lacks a transition to the body of the essay (lines 6–7).
• Provides an adequate discussion of the insights of the speaker (lines 23–25).
• Cites appropriate specifics to support the thesis of the essay (lines 14–16).
• Uses standard style, diction, and structure, but does not reflect a sophisticated or mature
writer.
• Attempts a universal statement within a rather repetitive and summary-like conclusion
(lines 32–34).
How about sharing While adhering to the prompt, this midrange essay is an adequate first draft. It shows
these samples with promise but comes dangerously close to paraphrasing lines. The analysis is basic and obvi-
members of your class ous, depending on only one device, that of simile. The writer hints at the subtleties but
or study group and
misses the opportunity to respond to further complexities inherent in the poem.
discussing possible
responses? Note: Both essays have concluding paragraphs which are repetitive and mostly unneces-
sary. It is best to avoid this type of ending.
Rapid Review
Need a Quick Review? Spend a minute or two reading through . . . that’ll do.
• Review terms and techniques.
• Become familiar with types of poetry questions (prompts).
• Highlight the prompt to make certain you are aware of required tasks.
• Time your essay carefully.
• Read the poem a couple of times.
• Spend sufficient time “working the poem” before writing.
• Mark up the poem.
• Create a strong opening paragraph, including prompt information.
• Refer often to the poem for concrete details and quotes to support your ideas.
• Always stay on topic.
• Avoid simply paraphrasing.
• Practice—vary the prompt and your response.
• Consult the models and rubrics for self-evaluation.
• Share ideas with others.


CHAPTER
7
The Free-Response Essay
IN THIS CHAPTER
Summary: Examination of the free-response essay and its purpose as it is
presented in the AP English Literature exam
KEY IDEA Key Ideas

✪ Learn the types of free-response prompts you might encounter in the
AP English Literature exam
✪ Practice various ways of organizing the information based on your
chosen literary work
✪ Learn the basics of constructing your response to the free-response prompt
✪ Learn about the rubrics and rating of the AP free-response essays
✪ Examine model student essays
✪ Learn how rubrics were used to rate student essays
✪ Learn how the synthesis essay differs from the argumentative and
analysis essays
✪ Learn the process of dealing with many texts
Introduction to the Free-Response Essay

Nothing in life is free, but this essay does indicate that the end is near. So, hang in there.
However, a cliché-clogged essay is not the indicator of the high-range essay. This chapter
will provide the information and the practice you need to “knock their socks off.”
❮ 93

What Is a Free-Response Essay?

The free-response essay is based on a provocative question that highlights specific insights
KEY IDEA applicable to a broad range of literary texts. The question provides for varied personal inter-
pretations and multiple approaches. It allows students to truly create the specific substance
of their own essay.
What Is the Purpose of the Free-Response Essay?

The College Board wants to assess your ability to discuss a work of literature in a particular
context. The illustrations you include in your essay will demonstrate your insights and criti-
cal thinking as well as your writing ability.
What Makes This Essay “Free”?

Although the question is the same for all students, you have total freedom to choose the
piece of literature to which you will refer. Once chosen, you have total freedom to select
the specifics that will support your thesis. Unlike the other two essays, which have rubrics
based on certain concrete interpretations and directions of the text, your free-response essay
will be uniquely your own.
If This Is Total Freedom of Expression, How Can I Ever Get Less

Than a 9?
The test reader is expecting an essay that demonstrates a mature understanding and defense
of the prompt. Your paper must be specific and well organized. It must also adhere to the
topic. You will lose major credit for providing only plot summary. Your illustrations should
be cogent and insightful rather than obvious or superficial. For a high score, you must bring
something specific and relevant to the page.
What Are the Pitfalls of the Free-Response Essay?

It is our experience that the free-response question is a double-edged sword. Students
KEY IDEA can suffer from overconfidence because of the open nature of this essay. They depend on
memory rather than on preparation and often go for the most obvious illustrations. They
tend to ramble on in vague and unsupported generalities, and they frequently provide
incorrect information. The failure to plan and limit can undermine this essay.
Students often have trouble choosing the appropriate work and lose valuable time pon-
dering a variety of choices. It is important to be decisive and confident in your presentation.
What Kinds of Works May I Refer to in This Essay?

Generally, you are asked to choose a full-length work, almost always a novel or play.
However, if the prompt says “choose a work,” you may use a poem, short story, novella, or
work of nonfiction. Note: You may never use a film.
Must I Use the List of Works Provided at the Bottom of the Prompt?
Absolutely not! Since this is a free-response essay, the choice of a literary work is up to you.
You should choose a work that is appropriate to the prompt, one that is appropriate to AP
students, and one that is comfortable for you.

The Free-Response Essay ❮ 95
Must I Use Works Read This Year?

No, but why would you choose any work that could be a faded memory or unsuitable for
AP-level analysis? We always recommend using works that you studied in class and have
read and discussed throughout the year. One exception occurs when you have written a
lengthy literary research paper or a sustained critical analysis. In this situation, you may
have real in-depth familiarity with a work that you could adapt to a free-response question.
By all means, go for it!
How Do I Prepare for the Free-Response Essay?

You need to tell yourself in September or October that you will be taking the exam next
May. This will emphasize the point that throughout the year you will have to keep some
type of record of the works you have read and some specific points you want to make about
each of them. (In Chapter 8, we introduce several techniques and processes that will enable
you to keep these records.)
By the time of the exam in May, you need to be thoroughly conversant with at least
three to five full-length works from different genres, eras, and literary movements.
You also need to practice. Practice writing questions, practice choosing appropriate
works, and practice writing responses to questions. Practice!
What Criteria Do the AP Readers Use to Rate a Free-Response Essay?

The readers are looking for literary insights and awareness of character, comprehension of
KEY IDEA theme, and the ability to transfer specific ideas and details to a universal concept. In addi-
tion, the readers are hoping to see a writer who reveals and understands the relationships
among form, content, style, and structure and their effects on the meaning of the work.
The essay should indicate the writer’s ability to choose appropriate illustrations from a full-
length work and to connect them in a thoughtful way. The sophisticated writer will refer
to plot but will not summarize. As always, the reader is looking for a well-organized essay
written in a mature voice.
What Happens If I Use a Work That the Reader Doesn’t Know?

This should not be a major concern to you. Throughout the year, your AP instructor has
KEY IDEA provided you with appropriate literary experiences suitable for addressing this prompt. In
addition, be assured that any work we mention in this book will be appropriate. Be sure
to consult our suggested reading list to increase your range of choices. Any other works
by the same author would probably be on an appropriate AP level. For the most part, the
AP prefers works from the literary canon because they exhibit breadth and complexity for
literary scholarship. Don’t fight these requirements. You do yourself a disservice when you
insist on trying to outwit or beat the system.
Having said all this, if by chance you do choose an obscure work and present it well,
the reader will respond accordingly.
Types of Free-Response Prompts

Here are some topics that could be the basis for a free-response prompt. We also include
KEY IDEA some suggested works for these.

• The journey as a major force in a work. (Gulliver’s Travels, As I Lay Dying, The Stranger,
The Kite Runner, etc.)
• What happens to a dream deferred? (Hedda Gabler, Desire Under the Elms, Their Eyes Were
Watching God, etc.)
• Transformation (literal and/or figurative). (Dr. Jekyll and Mr. Hyde, Black Like Me, Meta-
morphosis, etc.)
• Descent into madness/hell. (Medea, Heart of Darkness, Secret Sharer, etc.)
“I really like hearing • An ironic reversal in a character’s beliefs or actions. (Heart of Darkness, The Stranger,
and reading how Oedipus, etc.)
the other students do • Perception and reality—“What is, is not.” (Twelfth Night, Hamlet, Who’s Afraid of Virginia
the same questions. Woolf ?, etc.)
It helps me evaluate • A child becomes a force to reveal . (Jane Eyre, Huckleberry
my own ideas and Finn, Lord of the Flies, etc.)
essays.” • Ceremony or ritual plays an important role. (The Stranger, Lord of the Flies, The Sun Also
—Adam S. Rises, Suddenly Last Summer, etc.)
AP student • The role of the fool, comic character, or wise servant who reveals .
(King Lear, The Importance of Being Earnest, Tartuffe, etc.)
Note: Fill in works you would use to respond to the above prompts.
Here’s another set of possible free-response prompts for development:

KEY IDEA
• How an opening scene or chapter establishes the character, conflict, or theme of a major
literary work.
• How a minor character is used to develop a major character.
• How violence relates to character or theme.
• How time is a major factor.
• The ways in which an author changes the reader’s attitude(s) toward a subject.
• The use of contrasting settings.
• Parent/child or sibling relationships and their significance.
• The analysis of a villain with regard to the meaning of the work.
• The use of an unrealistic character or element and its effect on the work.
• The relevance of a nonmodern work to the present day.
• The conflict between passion and responsibility.
• The conflict between character and society.
Note: To our knowledge, a free-response question has never been repeated. Therefore,
we suggest:
1. Use the prompts cited earlier when you discuss works you read or when you write about
STRATEGY those works throughout the year.
2. Generate a list of topics that would also be suitable for free-response prompts. Discuss,
outline, or prepare sample essays utilizing these questions.

TIP
Anticipating prompts and responses is a productive way to prepare for this exam.
General Rubrics for the Free-Response Essay

Let’s take a look at the general rubrics for the free-response essay.
KEY IDEA A 9 essay has all the qualities of an 8 essay, and the writing style is especially mature, as
is the relationship between the text and the subtext and the inclusion of supporting detail.
An 8 essay will effectively and cohesively address the prompt. It will refer to an appro-
priate work for the task and provide specific and relevant references from the text to illus-
trate and support the writer’s thesis related to the journey indicated in the prompt and its
relationship to character and theme. The essay will present the writer’s ability to perceive
the relationship between text and subtext in a clear and mature writing style.
A 7 essay has all the properties of a 6, only with more well-developed analysis/discus-
sion of the relationship between development of character and how it relates to the journey
or a more mature writing style.
A 6 essay adequately addresses the prompt. The analysis/discussion is on target and
makes use of appropriate references from the chosen literary work to support the inter-
relationship between the character, his journey, and the work’s theme. But these elements
are less fully developed than they are in essays in the 7, 8, or 9 range. The writer’s ideas
are expressed with clarity, but the writing may have a few errors in syntax and/or diction.
A 5 essay demonstrates that the writer understands the prompt’s requirements. The
analysis/discussion of the journey and how it relates to the character and the theme is gener-
ally understandable, but it is limited or uneven. The writer’s ideas are expressed clearly with
a few errors in syntax and/or diction.
A 4 essay is not an adequate response to the prompt. The writer’s analysis/discussion
of the journey and how it relates to character and theme indicates a misunderstanding, an
oversimplification, or a misrepresentation of the chosen literary work. The writer may use
evidence that is not appropriate or not sufficient to support his or her thesis.
A 3 essay is a lower 4 because it is even less effective in addressing the journey and how
it relates to character and theme. It is also less mature in its syntax and organization.
A 2 essay indicates little success in speaking to the prompt. The writer may misread
the question, choose an unacceptable literary work, only summarize the selection, never
develop the required analysis, or simply ignore the prompt and write about another topic
altogether. (Note: No matter how good a summary is, it will never rate more than a 2.)
A 1 essay is a lower 2 because it is even more simplistic, disorganized, off topic, and
lacking in control of language.
Timing and Planning the Free-Response Essay

This essay is the real challenge of the exam. Keep in mind that with the other two essay
STRATEGY questions, half the job was done for you; the material was limited and provided for you.

But now you are faced with the blank page that you must fill. Therefore, you must plan this
essay carefully and completely. With this in mind, here’s a workable strategy:
• 1–3 minutes working the prompt. (At this point, you might even chart the prompt.)
• 3–5 minutes choosing your work. (You should mentally run through two or three works
that might be appropriate.) This is a crucial step for laying the foundation for your essay.
• 5–10 minutes for brainstorming, charting, mapping, outlining, and so on the specifics
you plan to use in your essay. (Remember, a vague, general, unsupported essay will cost
you points.)
• 20–25 minutes to write your essay based on your preparation.
Working the Prompt from the Diagnostic/Master Exam

Before you read the prompt, immediately cover the list of suggested works. There are
STRATEGY several good reasons for this:
• It requires time to read the list.
• Chances are you will have read very few works on the list. If you are like many students,
this could make you feel insecure and rattle your confidence.
• If you are familiar with a work or two, you may be predisposed to use the work to answer
the question even if it is not necessarily your best choice. You may find yourself consider-
ing a work that you would not have considered if it were not listed, and you may find
yourself taking precious time to fit that choice unsuccessfully to the prompt.
Here is the PROMPT:
Often in literature, a literal or figurative journey is a significant factor in the develop-
ment of a character or the meaning of the work. Choose a full-length work and write
a well-organized essay in which you discuss the literal and/or figurative nature of the
journey and how it affects characterization and theme. You may choose from the list
below or another full-length work of literary merit.
As I Lay Dying Tom Jones

Jane Eyre Heart of Darkness
The Odyssey Moby Dick
Don Quixote The Sun Also Rises
Candide The Grapes of Wrath
A Streetcar Named Desire The Stranger
A Passage to India Ulysses
Gulliver’s Travels Their Eyes Were Watching God
No Exit Obasan
The Kite Runner Twelfth Night

Notating the Prompt

We recommend that you chart or map the prompt. This is a simple visualization of your
STRATEGY task. Before you look at our samples, you might want to try charting or mapping the
prompt on your own.
Following is a sample chart:
Jane Eyre
JOURNEY EFFECT ON CHARACTER EFFECT ON THEME
LITERAL
FIGURATIVE
Here is a sample map:
figurative effects on character literal effects on character
JOURNEY
figurative effects on theme literal effects on theme
Following is a sample topic outline:
Journey
• Literal effect
• character
• theme
• Figurative effect
• character
• theme
Your Turn
Carefully read and highlight the following prompt.
Frequently, the tension in a literary work is created by the conflict between a character
and society. Choose a full-length literary work and discuss the nature of the conflict,
its effect on the character, on society, and on the resulting thematic implications.

A. Construct a chart that addresses the requirements of the prompt.
Title of literary work:
NATURE OF CONFLICT EFFECT OF CONFLICT
ON CHARACTER
ON SOCIETY
ON THEMATIC
IMPLICATIONS
B. Using the same literary work you chose for the chart, create a map.
(character) (society) (thematic)

(conflict)
(effect on character) (effect on society)

C. With the same literary work and prompt in mind, construct an outline.
Conflict
Nature of conflict
– On character:
– On society:
Effect of conflict
– On character:
– On society:
Thematic implications
– On character:
– On society:
When you provide the specifics, either mentally or by writing them down, you will
ensure that you have addressed all parts of the prompt. This also will provide the basic
structure of your essay.
Note: Although it may feel awkward and contrived at first, if you actually practice this
KEY IDEA technique, it will become automatic and help you to immediately get into the writing of
your essay.

Now that you are familiar with the prompt, take a few moments to think about works
that might be appropriate for this question. One or two will immediately pop into your
mind. Mentally examine them for scenes or details that you might be able to use. If you can’t
think of specifics, abandon this choice.
If you wish, now take a look at the list of suggested works, because:
• You may find your choice there, and you will feel very validated.
• You may see a different work by the same author, which may also boost your confidence.
• You might see another work or author you recognize you had not considered that could
possibly spark a better response to the prompt.
This process should only take a minute or so.
Do this now. Spend 8–10 minutes working your choice to fit the requirements of the
prompt. For example, prior to the exam, you will have prepared a cross section of works
from various genres, time periods, and literary movements. Since these are works with
depth, you will be able to take your basic scene or references and modify them to suit the
task of the given prompt.
Using Hamlet as an example, let’s assume you reviewed the graveyard scene prior to
the exam. This scene would be appropriate to illustrate your thoughts on such varied
prompts as:
• The use of humor—the gravedigger.
• The role of a minor character—Horatio.
• The concept of death as the great leveler—motif.
• Use of ritual—funeral.
• The impact of a character not seen in the work—Yorick.
• The use of coincidence or irony in the work—Ophelia’s grave.
• The use of setting to develop theme or character—“To be or not to be.”
You get the point. Obviously, you could not answer a question about the effectiveness
of a work’s conclusion by using this scene, which is exactly why you prepare several different
literary examples.
TIP
We know that Shakespeare is so universal that any work could be used to answer almost
any free-response question. Therefore, we urge you to prepare at least one Shakespearean
play as a “safe” work.
There is another reason to spend several minutes planning your essay. Frequently,
your first responses and examples are the obvious and common ones. This is not to say
that you could not write an adequate essay using these. But, if they came to you this
quickly, they probably also came to many thousands of other students taking the exam.
It is usually more challenging and rewarding to find a unique focus for your essay. For
example: choosing the gravedigger’s scene in Hamlet rather than the “To be or not to be”
scene may reveal a more creative thinker.
Sometimes, as you are planning, you realize that your work will answer only part
of the prompt and that it would be better to switch to another work. If you have pre-
pared well prior to the test, you will be able to do this without taking up much time.
Sometimes it’s better to abandon your initial choice in favor of the second and more
productive one. This is why you have not yet begun to write.

Developing the Opening Paragraph

Now you are ready to write. Remember, your opening paragraph is the one that raises the
STRATEGY expectations of the reader and sets the tone of your essay. Spend time on your first para-
graph to maximize your score.
Make certain that your topic is very clear to the reader. This reinforces the idea that
you fully understand what is expected of you and what you will communicate to the reader.
Generally, identify both the text and the author in this first paragraph.
Do this now. Take 5 minutes and write your opening paragraph for this prompt. Write
quickly, referring to your notes.
Let’s check what you’ve written:
Actually highlight • Have you included the author and title?
these to see if you’ve • Have you addressed the literal and figurative journeys?
done it. You may be • Have you addressed characterization and theme?
surprised at what is
actually there. Here are three sample opening paragraphs that address each of the above criteria.
A
“There was no possibility of taking a walk that day” says young Jane in Chapter
One of Charlotte Bronte’s novel, Jane Eyre. Little did she know that her very existence
would evolve from her personal odyssey as she journeyed from Gateshead to Lowood to
Thornfield and beyond; from child to adolescent to woman. This literal and figurative
journey enables Bronte to develop both the character and the theme of her work.
B
Up the hill, down the street, across the road from cafe to cafe, the characters in
Ernest Hemingway’s novel, The Sun Also Rises, wander interminably. Hemingway employs
this aimless journey to reveal the lost nature of his characters and his theme of the search
for meaning and direction in their post–World War I existence.
C
In Heart of Darkness by Joseph Conrad, a literal journey from England to Africa
becomes a nightmare of realization and epiphany for the main character, Marlowe.
Conrad develops his themes through Marlowe’s observations and experiences on his
figurative journey from innocence to corruption, idealism to cynicism, and optimism to
despair.
Note: These three introductory paragraphs identify the author and the title and clearly
indicate an understanding of the prompt. Let’s note what is different about each.
Sample A begins with an appropriate, direct quotation. It clearly delineates the two
types of journeys and their relationship to the character. The writer indicates an under-
standing of the difference between literal and figurative interpretation.
Sample B has a clear writer’s voice. The writer is not afraid to be judgmental. The tone
of the essay is apparent and sustained.
Sample C alludes to the content of the body of the essay and touches on vague generali-
ties. However, the maturity of the vocabulary and thought indicate the writer’s understand-
ing of Conrad’s complex themes and their relationship to the prompt.
Note: There are many other types of opening paragraphs that could also do the job.
The paragraphs above are just a few samples. Does your opening paragraph resemble any

of these samples? When you write the body of your essay, take only 15–20 minutes. Time
yourself and try your best to finish within that time frame.
Developing the Body of the Essay

Time to pump some mental iron and to firm up and tone those flabby ideas and turn them
into examples of intellectual fitness.
What Should I Include in the Body of the Free-Response Essay?

2. Use specific references and details from the chosen work.
• Incorporate direct quotations when possible.
• Place quotation marks around those words or phrases taken directly from the work.
3. Use connective tissue in your essay to establish adherence to the question.
• Use the repetition of key ideas in the prompt and in your opening paragraph.
• Try using “echo words” (i.e., synonyms such as journey/wanderings/travels or
figurative/symbolic/metaphoric).
• Use transitions from one paragraph to the next.
To understand the process, carefully read the following sample paragraphs. Each illus-
trates an aspect of the prompt. Notice the specific references and the connective tissue.
A
At Gateshead, despite its material comforts, Jane was an orphaned outcast who felt
“like a discord.” She was, like Cinderella, abused by her cousins and aunt and nurtured
only by Bessie, a servant. Jane’s immaturity and rebellious nature cause her to be jealous
and vengeful which culminates in a violent confrontation with her repulsive cousin, John.
Her subsequent eviction from Gateshead forces her to embark on a journey that will
affect her forever. The stark privations of Lowood humble Jane and open her to the true
riches of friendship with Helen Burns. It is here she learns the academic, religious, and
social skills that will enable her to move on to her destiny at Thornfield.
B
Throughout the novel Jake escorts the reader on the journeys that become the only
purpose the group exhibits. The trip to San Fermin for the fiesta is also a journey to hell,
away from civilization and morality. The fiesta “explodes” and for seven days any behavior
is acceptable, for there is no accountability during this time. No one “pays the bill,” yet.
Brett is worshiped as a pagan idol; garlic is strung around her neck, and men drink to her
powers. She is compared to Circe, and, indeed, she turns her companions into swine as
they fight over her. This trip to the fiesta reinforces the lack of spirituality and direction
that is a theme of the novel.
C
Referring to the map of the Congo, Marlowe states that “the snake had charmed
me.” This primal description prepares us for the inevitable journey up the river that will
change the very core of his character. The snake implies temptation, and Marlowe is
seduced by the mysteries of Africa and his desire to meet Kurtz in the interior. He is too

naive and pure to anticipate the abominations that await him at the inner station. Like
a descent into hell, the journey progresses. The encounters with Fresleven, the workers
without rivets, the pilgrims shooting into the jungle, all foreshadow Marlowe’s changing
understanding of the absurdity of life and the flawed nature of man. Only when he is
totally aware of “the horror, the horror” can he journey back to “another dark place of the
universe,” London, to see the Intended and to corrupt his own values for her sake.
Let’s examine these three body paragraphs.
Sample A is about Jane Eyre. It addresses one aspect of the prompt—Jane’s character at
the beginning of the journey—and continues with the first major change in her life. The
writer demonstrates familiarity with the novel through concrete details and quotations.
Theme is implied and leads the reader to anticipate further development in the rest of the
body of the essay.
Sample B refers to The Sun Also Rises. This paragraph uses a single incident to develop
the discussion of the journey as it affects character and theme. The writer includes very
specific details of the San Fermin fiesta to support comments about Brett and Jake. The
integration of these details is presented in a cohesive, mature style.
Sample C delves into Heart of Darkness. This paragraph is a philosophical approach,
which assumes the reader is familiar with the novel. It focuses on theme and how the
development of the character is used to illustrate that theme. The ending of the paragraph
presents an insight that invites the reader to “stay tuned.”
complete this task.

Here are two actual student essays that are followed by a rubric and comments on
each essay.
Student Essay A
The journey taken by Edna in Kate Chopin’s The Awakening exemplifies the
journey that is a very common feature in many works of literature. This journey
is not a commonplace journey; it is one that brings about development and change
in the story’s main character. In The Awakening, the spiritual journey that Edna
takes changes the way she thinks, acts, and lives. The ramifications of her journey 5
change her life.
The story takes place in New Orleans around the turn of the century. The
women of society were treated as possessions, either of their fathers or their
husbands, or even of their religion. The story’s protagonist, Edna, is introduced as
the respectable wife. She is a good mother and is faithful to her husband. The 10
family vacations for the summer in Grand Isle. While there, Edna befriends
Robert who every summer devotes himself to being an attendant to one of the
married women, Edna being his current choice. While there, she undergoes a series
of “awakenings” which begin her journey. One such push was Edna’s learning to
swim. Although she was previously afraid of the water and of swimming, one day 15
she tried, and is successful. Her newfound ability signifies the steps she is taking
towards no longer being a possession. It is one of the first signs that Edna is ready

to break free and to be her own person. The water gives her a sense of freedom,
and she relishes this sensation.
Edna’s growing love for Robert alerts her of the journey upon which she has 20
unknowingly embarked. After Robert leaves, giving very short notice, she misses
him tremendously. She realizes that she is in love with him but has no such love for her
husband, Leonce. While Robert gives into her every whim, Leonce only cares about
Edna as if she were his possession. He does not consider her feelings and emotions,
only his own. He leaves the family often to go into the city for work, sending 25
candy and chocolates to Edna and her children in order to compensate for his absence.
He constantly neglects Edna’s emotional needs, and as a result, intensifies the
strength of her journey. However, Leonce is not the only person who sees Edna
merely as a possession. Even Robert, who is in love with her, feels that Edna
belongs to Leonce. Because he knows that she cannot be his, Robert refuses to let 30
their relationship progress any further than it has, and the only way for him to
achieve this is to go away and cut off contact with Edna.
When the family returns to their home in New Orleans, Edna is not content
with her life and begins to neglect performing some of her expected activities and
duties, such as entertaining the wives of her husband’s clients. Edna’s refusal to 35
accompany her husband on a business trip is the pinnacle of her journey. Leonce is
shocked and appalled by her noncompliance, but he feels that she is going through a
phase and will soon come to her senses.
While her husband is gone, Edna’s children are sent to live with their grandmother.
During this time, Edna is free and independent. She meets a variety of new 40
people who she begins to spend time with. One of these people is Alcee Arobin,
who becomes her lover. This relationship is important in Edna’s journey because it
represents a further rift from her previous life as a possession. More and more, Edna
becomes her own person. Moreover, although he tries to make her his own possession
as well, Edna refuses to let Alcee have the upper hand in their relationship. She 45
refuses to let anyone control her life ever again. She even goes so far as to close
up her house and rent a much smaller place to dwell in. Edna’s actions come as a
shock to many people, especially her husband, but she is really just trying to assert
her individuality. However, no one understands what she is going through. In fact,
many people, including her husband, blame her behavior on mental illness. Edna 50
realizes that she cannot continue to live in this manner.
At the novel’s conclusion, Edna decides to commit suicide. She swims into the
ocean and drowns herself. It is fitting that she chooses the ocean, the place where
she feels she has the most freedom, to end the journey. Edna decides that she
would rather not live at all than to live a life where she cannot be her own person. 55
Student Essay B
It is easy to interpret the novel, Things Fall Apart, as a denouncement of
white colonization, or simply as a detailed portrayal of African culture. But that
would be all too banal; it has already been said and done by many authors. What
makes this novel distinctive is the development and depiction of Okonkwo’s journey
5
through life and how his journey effects the novel’s themes.
Given Okonkwo’s rugged personality, he encounters many conflicts on his
journey to self-awareness. Okonkwo clashes with his father, his wives, his children,

his village, and perhaps every other character, but his greatest struggle is with
himself. It seems as if Okonkwo’s enemy is his father’s flaws, but in reality, Okonkwo’s
hidden enemy is his fear of his father’s reflection upon himself. Okonkwo spends his 10
whole life on a journey away from the values of his father, so much up to the point
where he ruins his life as well as the lives of those around him. His tragic flaw is his
obsessive aversion to his father’s laid back character. Okonkwo is so engulfed by his
life’s mission to become a rejection of his father’s character, that he fails to see
Unoka’s positive traits such as tenderness, wisdom, and a passion for life, which 15
Okonkwo lacks.
Even though Okonkwo is the protagonist in this book, he is also the antagonist;
clearly, he is on a trip to disaster. He has not journeyed inside himself to understand
what makes him act the way he does. He is extremely rash and explosive and does
not think twice about throwing a fatal punch. He foolishly thinks that his aggressiveness 20
is the only way for a man to act; it is this misconception that ultimately ruins
him. Unfortunately for Okonkwo, he never realizes his flaw, and in the end, it is as
if he cannot flee his father’s reflection, for just like his father, he dies with shame
and disgrace.
He had the ambition; he had the intelligence; he had the passion; but he had 25
all of these for the wrong reasons. Perhaps Things Fall Apart portrays Okonkwo’s lack
of development rather than his development through time. From his early youth he
forms this strong aversion to weakness and ineptitude, and this controls all his
actions throughout his life. In actuality, the fact that he is totally ruled by this
fear of ineptitude underscores how internally weak Okonkwo is. In the end, when he 30
realizes that there is no possible way to triumph, that he cannot control people with
his violent actions, and that he cannot control his fate, what does he do? He gives
up and commits the most cowardly act of suicide.

Let’s take a look at ranking comments about each of these essays. Student Essay A is a
KEY IDEA borderline high-range essay for several reasons:
• It addresses all aspects of the prompt.
• It is highly detailed (lines 13–14, 25–26, 34–35).
• It demonstrates strong topic adherence (lines 5–6, 14–15, 20, 36–37, 50–51).
• There is strong integration of specifics to support the thesis (lines 16–17, 29–32, 42–43).
• There is perceptive character analysis (lines 33–36, 49–51).
• There is clear linear development of the essay (lines 9, 13–14, 33, 39, 48).
• The essay is frequently repetitive and needs echo words.
• There are some syntax and diction errors.
This is an example of a strong midrange essay which could make the jump into the
high-range area because of its organization, its use of detail, and its insights. It’s obvious
that the writer thoroughly understands the work and presents various specifics to support
the thesis. The diction and syntax are, at times, not as mature as would be found on more
sophisticated essays.

Student Essay B is a basic midrange essay for the following reasons:

“Peer review groups • It does begin to address the basic tasks of the prompt.
unite the class as • It identifies character and theme.
they begin to form a • It refers to the character’s journeys but does not really develop any of them
writing community (paragraphs 2–3).
that is open to • There are many generalizations which need more specific support (lines 10–16, 25–27).
ideas, criticism, • The essay loses its clear connection to the prompt at times (paragraph 4).
and revision.” • The diction and syntax, although adequate, lack a maturity seen in higher-level papers.
—Sandi F.
This lower, midrange essay demonstrates that the writer understands the prompt.
AP teacher
It does contain several perceptive insights which are unevenly developed. This is obvi-
ously a first draft in need of further revision. The essay would have benefited from more
thorough preparation of the work prior to the exam. As it stands, it relies too heavily on
generalizations.
Final Comments
Warning! Although the free-response essay may appear to be the easiest and most accessible
KEY IDEA on the exam, it is fraught with danger. The worst danger is relying on vague references and
general statements that are not supported by specific details or lines. In addition, you have
to develop the organizational pattern of the essay and control its progression. All too often
the essays read like capsule summaries of the plots.
Your lifesaver in this essay situation is preparation. We say this again because it bears
repeating:
• Review full-length works you’ve read during the year.
STRATEGY • Choose a minimum of five works you’ve connected with.
• Classify the five works to ensure a broad spectrum of types, literary movements, and
themes.
• Isolate several pivotal scenes, moments, or episodes from each of the five works and exam-
ine the suitability of those scenes for a variety of questions.
• Select quotations and details from these pivotal scenes.
• If necessary, reread only the pivotal scenes before you take the exam.
Rapid Review
• Remember the pitfalls of the free-response essay: vagueness and plot summary.
• Choose AP-level full-length novels or plays that you thoroughly recall and understand.
• Generally, use this year’s material.
• Familiarize yourself with sample free-response prompts.
• Anticipate free-response prompts.
• Develop specific review materials for several full-length works.
• Practice applying your knowledge to a variety of prompts.
• Highlight the prompt to make certain you are addressing the requirements of the
question.

• Do not waste time looking at the suggested works. Choose from your own memory bank.
• Plan the essay thoroughly before you begin writing.
• Briefly chart your response. Fill in with concrete details and quotes, if possible.
• Write an engaging opening paragraph that reflects the question’s requirements.
• Stay on topic.
• Avoid plot summary.
• Review our models and rubrics for self-evaluation.
• Share your ideas with others.

STEP
STEP 4
1
Review
Set the
Up Knowledge
Your Study
Program
You Need to Score High
What You Need to Know
CHAPTER 1
CHAPTER 8 Comprehensive Review—Prose
About the AP Human
Geography Exam
CHAPTER 9 Comprehensive Review—Poetry
CHAPTER 2 How to Plan Your Time


❮ 111
Introduction to Review Section

Why a Review Section? Why Not Just Provide a Series of
Practice Exams?
Since the AP Lit exam is the culminating, evaluative tool for your high school English
career, it would be wonderful if it could be truly representative of all that you have learned.
But, it is only a 3-hour test. Therefore, it must of necessity be general, and it must be wide
ranging enough to provide equity and opportunity for every student who takes the exam.
What the test makers assume about the students who take the AP Lit exam is a common
background of terminology and skills.
The following two chapters are not a replacement for your serious in-class study and
practice. Instead, they provide a resource for terminology and skills when you need clari-
fication or explanation. We want the information to enhance your analytical skills and to
present you with direction you might not have considered.


CHAPTER
8
Comprehensive Review—Prose
IN THIS CHAPTER
Summary: A brief review of terms and processes associated with prose
analysis
KEY IDEA Key Ideas

✪ Understand the components of a narrative
✪ Explore various types of novels
✪ Learn literary terminology related to analysis
✪ Understand various levels of interpretation
Introduction to Prose
Our desire to know ourselves and others, to explore the unknown mysteries of existence,
to make sense out of chaos, and to connect with our own kind are all primary reasons for
engaging in the process of literary analysis.
The benefits to self and society that result from this interaction include a sense of
wonder at the glory of humanity’s imagination, a sense of excitement at the prospect of
intellectual challenge, and a sense of connection with the universe.
You have already engaged in these lofty experiences. This section will provide a brief
review of terms and processes associated with the study of literature. Included are some
suggested activities for you to try which will help you prepare for the exam.
❮ 113

114 ❯ STEP 4. Review the Knowledge You Need to Score High
What Is Prose?
As you know, prose is the written equivalent of the spoken language. It is written in words,
KEY IDEA phrases, sentences, paragraphs, and chapters. It utilizes punctuation, grammar, and vocabu-
lary to develop its message. Prose is made up of fiction and nonfiction. For the AP Lit exam,
you are required to be well read in the areas of:
• Fiction, which includes:
• Novels
• Short stories
• Nonfiction, which includes:
• Essays
• Autobiographies and biographies
• Speeches
• Journals
• Articles
Note: A brief word about drama. Since this section is a review of prose designed to
prepare you for the AP Lit exam, it is not feasible to address every literary distinction and
definition. Therefore, we wish to stress the following:
• Specific terminology can be found in the Glossary at the back of this book.
• All the techniques examined for prose can be used to analyze drama as well.
• The overlapping nature of the analytical skills makes them suitable for prose, poetry,
and drama.
Five Aspects of Every Narrative

There is a certain degree of universality regarding definitions of terms when analyzing lit-
KEY IDEA erature. For clarity and understanding, you should be aware of the following terms.
Plot
The plot is a series of episodes in a narrative carried out by the characters. Here are the pri-
mary terms related to plot. You should be familiar with all of them. Obviously each work
manipulates these concepts in its own unique way.
• Initial incident: the event that puts the story in gear.
• Rising action: the series of complications in the narrative.
• The climax: the highest point of interest, action, or tension. More subtly, it is a turning
point in the protagonist’s behavior or thoughts.
• Falling action: the series of events occurring after the climax.
• Denouement: the resolution that ties up the loose ends of the plot.
These form the skeleton of a discussion about plot. But there are also other elements
that add to your comprehension.
• Foreshadowing: hints at future events.
• Flashbacks: cut or piece a prior scene into the present situation.
• In medias res: literally, to be in the middle. This is a device that places the reader imme-
diately into the action.

Comprehensive Review—Prose ❮ 115
• Subplot: secondary plot that explores ideas that are different from the main story line.
• Parallel plot: a secondary story line that mimics the main plot.
Setting
Traditionally, setting is the time and place of a work, but it is also so much more. Setting is
not accidental. It is a vital part of the narrative, and it can serve many functions. You should
consider setting in light of the following:
• General: to underscore the universality of the work (“The Open Boat”)
• Specific: to create a definitive ambiance that impacts on the work’s possibilities (Gone with
the Wind)
• Character or foil: in relation to the protagonist (The Perfect Storm)
• Limiting factor: to allow the plot, character, and theme to develop (Lord of the Flies)
• To reveal style (The Secret Sharer)
• To reveal character (Hedda Gabler)
• To reveal theme (Heart of Darkness)
Your Turn
Choose a literary text you’ve read during the past two years and examine a particularly
effective setting.
1. Jot down the major specifics of the setting.
2. Identify the function(s) of that setting.
Title:
Setting:
Details/Specifics Function(s)

Character
Character development can be both simple and complex. The author has a variety of meth-
ods from which to choose. Here’s a mnemonic device that may help you analyze character:
Use the word STAR.
• S—what the character says;
• T—what the character thinks;
• A—how the character acts and interacts; and
• R—how the character reacts.
Traditionally, characters carry out the plot, and it is around the characters that the plot
revolves and the theme is developed. There can be many types of characters in a given work:
• Protagonist: the main character who is the central focus of the story. For example, Hamlet
is the eponymous protagonist.
• Antagonist: the opposing force. It does not always have to be a person. For example, the
sea or the fish in The Old Man and the Sea.
• Major: the character or characters who play a significant role in the work.
• Minor: the characters who are utilized for a specific purpose, such as moving the plot
along or contrasting with a major character.
• Dynamic: refers to characters who undergo major changes, such as Jane Eyre.
• Static: generally refers to characters who remain the same throughout the story. For
instance, Brutus in Julius Caesar always considers himself to be an “honorable man.”
• Stereotype: a character who is used to represent a class or a group.
• Foil: a character who provides the opportunity for comparison and contrast. For example,
in Shakespeare’s Julius Caesar, Brutus and Cassius are foils for each other.
Character as Hero
Once again, you may encounter many variations on the concept of hero:
“Be consistent • Aristotelian tragic hero:
and persistent in • Of noble birth; larger than life
maintaining a • Basically good
literary journal.
• Exhibits a fatal flaw
Students who do this
have greater recall • Makes error in judgment
of information that • Possesses hubris (excessive arrogance or pride) which causes the error in judgment
they can incorporate • Brings about his own downfall
into their literary • Has a moment of realization, an epiphany
essays.” • Lives and suffers
—Charles V. • Examples: Creon in Antigone, Oedipus in Oedipus, Jason in Medea
AP teacher
• Classical hero: a variation on the tragic hero:
• Examples: Macbeth in Macbeth, Lear in King Lear, Hamlet in Hamlet
• Romantic hero:
• Larger than life
• Charismatic
• Possesses an air of mystery
• “Saves the day” or the heroine

• Embodies freedom, adventure, and idealism

• Often outside the law
• Examples: Robin Hood, Ivanhoe, James Bond, Mr. Rochester in Jane Eyre
• Modern hero:
• May be everyman
• Has human weaknesses
• Caught in the ironies of the human condition
• Struggles for insight
• Examples: Willy Loman in Death of a Salesman, Tom Joad in Grapes of Wrath
• Hemingway hero:
• Brave
• Endures
• Maintains a sense of humor
• Exhibits grace under pressure
• Examples: Santiago in The Old Man and the Sea, Jake Barnes in The Sun Also Rises,
Butch and Sundance in Butch Cassidy and the Sundance Kid
• Antihero: Protagonist is notably lacking in heroic qualities:
• Examples: Meursault in The Stranger, Randall McMurphy in One Flew Over the
Cuckoo’s Nest, Homer Simpson of cartoon fame
Theme
Theme is the main idea, the moving force, what it’s all about, the “why” behind the “what,”
the universal concept or comment, the big picture, the major insight, the raison d’être.
But theme is much more than a simple checklist. And, we cringe each time we hear, “What
is the theme?” Remember, the enlightened, complex mind questions, ponders, responds.
A literary work evolves and can be validly interpreted in so many ways that it would be a
disservice to limit it to any single, exclusive theme.
Keeping an open mind, understand that the following is an overview of ways of assess-
ing themes. All elements of a literary work point toward the development of the theme.
Therefore, you will apply all that you have been learning and practicing in your search for
a discernible, supportable theme.
Motif In its most general sense, motif is the repetition of an image. It may be closely con-
nected to symbol, or it may be a thematic restatement.
The following is a preparation process for discovering and analyzing the function of
motif. You can try this with any work.
• Isolate some general motifs you’ve noticed in a work.
STRATEGY • Provide specific examples to illustrate the motif.
• Draw inferences from your observations.
These rough inferences may lead you to a better understanding of character and
theme. The following is a sample worksheet that uses the above process to analyze motif in
Tennessee Williams’s A Streetcar Named Desire.

Motif in A Streetcar Named Desire

MOTIF EXAMPLE THEMATIC IMPLICATIONS
Color White woods (Blanche DuBois) Red/white/blue = American theme
Blue piano Blue/gray—Civil War?
Red pajamas—Stanley Rape of Old South?
Allan Grey Destruction of a way of life
Music The blues Loss/sorrow, betrayal
“Only a Paper Moon” (if you believed in me) Lack of reality—insanity
Captive maiden Control/slavery
Animals Blanche:
fine feathered/wildcat ego/id
trapped bird/tiger duality
moth to light self-destruction
Stanley:
rooster/pig
survival of the fittest
ape
Darwinism/primitivism
goat/Capricorn
Dionysian—rape
Here’s another way to work through an idea about theme. Sometimes it’s easier to input
STRATEGY
a theme and then prove it with support from a work. If you can defend an idea with several
specifics, you probably have identified a theme. Let’s look at Shakespeare’s Hamlet:
Hamlet
POSSIBLE THEME EVIDENCE
What is, is not 1. Hamlet is not mad, only north-northwest.
2. Polonius is not Claudius in Gertrude’s chamber.
3. Ophelia is not disinterested in Hamlet’s overtures.
4. Rosencrantz and Guildenstern are not Hamlet’s “friends.”
Vengeance 1. Old Hamlet’s charge to Hamlet to redress his murder.
2. Laertes’s vow to avenge his father’s death.
3. Fortinbras’s victory to avenge his father.
Obviously, we have provided the organization in our samples, but these two techniques
are solid, reliable processes. They will work on the exam, too, especially as you interrelate
ideas for your essays or identify points that may be the topic of multiple-choice questions.
Keep a section in your notes where you enter important motifs, images, and so on and
STRATEGY
their implications from works you study. These concrete details will be invaluable when
you write the free-response essay. Keep in mind that motif, imagery, symbol, and theme
build on one another and are interrelated.

Point of View
Point of view is the method the author utilizes to tell the story. It is the vantage point from
which the narrative is told. You’ve had practice with this in both reading and writing.
• First person: The narrator is the story’s protagonist. (I went to the store.)
• Third-person objective: The narrator is an onlooker reporting the story. (She went to the
store.)
• Third-person omniscient: The narrator reports the story and provides information
unknown to the character(s). (She went to the store unaware that in three minutes she
would meet her long-lost mother selling apples on the corner.)
• Stream of consciousness: This is a narrative technique that places the reader in the mind
and thought processes of the narrator, no matter how random and spontaneous that may
be (e.g., James Joyce’s Ulysses).
• Chorus: Ancient Greek plays employed a chorus as a narrative device. The chorus, as
needed, could be a character, an assembly, the playwright’s voice, the audience, an omnis-
cient forecaster. This function can be seen in modern works as well.
• Stage manager: This technique utilizes a character who comments omnisciently (e.g., Our
Town, The Glass Menagerie).
• Interior monologue: This technique reflects the inner thoughts of the character.
Note: In modern literature, authors often use multiple forms of narration. For example,
in As I Lay Dying by William Faulkner, every chapter has a different narrator.
Types of Novels
There are many types of novels you will encounter during your study of English literature.
KEY IDEA Some novels exhibit several qualities. A few of the most common genres are:
• Epistolary: These novels utilize the convention of letter writing and are among the earliest
novel forms (e.g., Pamela, Dracula, The Color Purple).
• Picaresque: This early, episodic novel form concentrates on the misadventures of a young
rogue (e.g., Huckleberry Finn, Don Quixote, Tom Jones, Candide).
• Autobiographical: This readily identifiable type is always told in the first person and allows
the reader to directly interact with the protagonist (e.g., David Copperfield, Catcher in
the Rye).
• Gothic: This type of novel is concerned with the macabre, supernatural, and exotic (e.g.,
Frankenstein, Interview with a Vampire, Dr. Jekyll and Mr. Hyde).
• Historical: This form is grounded in a real context and relies heavily on setting and factual
detail (e.g., A Tale of Two Cities, War and Peace).
• Romantic: This novel form is idealistic, imaginative, and adventuresome. The romantic
hero is the cornerstone of the novel, which often includes exotic locales (e.g., Wuthering
Heights, Madame Bovary).
• Allegorical: This type of novel is representative and symbolic. It operates on at least two
levels. Its specifics correspond to another concept (e.g., Animal Farm, Lord of the Flies).

Consider this. Jane Eyre has elements of all these types, as do many other novels. List
STRATEGY and loosely categorize some of the major novels you’ve read.
Literary Terminology
Literary analysis assumes the working knowledge of a common vocabulary.
KEY IDEA
The Kaleidoscope of Literary Meaning
Literary meaning is developed and revealed through various devices and techniques.
What follows is a brief listing of those terms and devices most often used in prose, poetry,
and drama.
• Allusion: An allusion is a reference to another work, concept, or situation which generally
enhances the meaning of the work that is citing it. There are many types of allusions,
and they may be implicit or explicit, highly limited or broadly developed. Often, modern
readers may miss the context of a particular reference because they have a limited frame
of reference. A few common categories of allusion follow:
• Mythological allusions: These often cite specific characters. Common allusions might
refer to the beauty of Aphrodite or the power of Zeus. “She followed like Niobe, all
tears” (Hamlet). Sometimes the entire work may refer to a mythological event. The
play Desire Under the Elms is a sustained allusion to the Phaedra legend, as well as the
Oedipal myth.
• Biblical allusions: These references may deal with circumstances as familiar as “the mark
of Cain,” “the fall from paradise,” “the tribulations of Job,” or “destruction by flood or
fire.” A character may have the “strength of Samson” or the “loyalty of Ruth.”
• Historical allusions: These kinds of allusions might refer to major historical events, such
as Napoleon meeting his Waterloo or Nixon dealing with Watergate.
• Literary allusions: Often works will refer to other well-known pieces. For example, West
Side Story expects you to think of Romeo and Juliet. To describe a character as “quixotic”
refers to Cervantes’s great novel Don Quixote.
• Political allusions: These references would be sustained in works like Gulliver’s Travels
or Alice in Wonderland. They might also be used briefly. If a character were called the
next Julius Caesar, we might sense that he would be betrayed in some manner. The
Crucible is a historical allusion to the Salem witch trials and is also a statement about
McCarthyism in the 1950s.
• Contemporary allusions: These are often lost when the current context is no longer in
the public eye. For example, “valley girls” or “Beavis and Butthead” may not remain in
vogue, and, therefore, references to them would lose their effectiveness.
• Ambiguity: This is the seemingly incongruous and contradictory interpretations of mean-
ing in a work. James Joyce and William Faulkner utilize ambiguity often in their writing.

• Allegory: A work that operates on another level. The characters and events may be
interpreted for both literal and symbolic meaning. For example, Of Mice and Men by
Steinbeck is an indictment of the exploitation of the masses and a call to unionism as well
as a story of doomed friendship. Other allegorical works include The Old Man and the
Sea by Hemingway, Animal Farm by Orwell, Candide by Voltaire, and Pilgrim’s Progress
by John Bunyan.
• Parable: A parable is an allegorical story that is intended to teach. It generally provides a
moral lesson or illustrates a guiding principle. “The Nun’s Priest’s Tale” in The Canterbury
Tales by Chaucer is a parable about vanity and pride.
• Symbol: This is an image that also represents something else. Some symbols appear to
be extremely specific. In Hawthorne’s The Scarlet Letter the scarlet letter is a symbol
of Hester’s impropriety. It can also represent Hester’s pride, talent, responsibility, and
shame. The reader should always be open to the broadest interpretation of the concept of
symbol, whether about character, setting, situation, detail, or whatever. Another example
of symbol is the splitting of the chestnut tree in Jane Eyre. Here Bronte symbolizes the
breach in the relationship between Jane and Rochester. The white hat in The Secret Sharer
by Conrad is a symbol of man’s compassion and pity for his own kind.
• Connotation: This is the implication that is suggested by a word or phrase rather than the
word or phrase’s actual, literal meaning. For example, the use of “antique land” instead of
“ancient land” brings a richer connotation to Shelley’s “Ozymandias.” The reader must
be especially open to the varied levels of meaning in poetry.
• Denotation: The literal meaning of a word or phrase. If a reader is attempting to present
a valid interpretation of a literary work, he or she must pay attention to both the denota-
tion and the connotation of the language.
• Tone: Tone is difficult to define but is relatively easy to assess. It is a subtle feeling that
the author creates through diction. The following is a short list of words often used to
describe tone. Notice that they are adjectives.
bitter objective idyllic

sardonic naive compassionate
sarcastic joyous reverent
ironic spiritual lugubrious
mocking wistful elegiac
scornful nostalgic gothic
satiric humorous macabre
vituperative mock-serious reflective
scathing pedantic maudlin
confidential didactic sentimental
factual inspiring patriotic
informal remorseful jingoistic
facetious disdainful detached
critical laudatory
• Transition: Do not be fooled into thinking that “transition” is an unimportant term. An

author will give you a road map through his or her story’s journey, and one of the best
indicators of direction is the transition word or phrase. Transitions help to move the
reader smoothly from one part of the text to another. Below is a list of the most effective
commonly used transitions:

and also as a result after

but besides for example although
for consequently in addition because
nor furthermore in the same way once
or however on the contrary since
so likewise on the other hand unless
yet moreover otherwise until
nonetheless unlike the former while
similarly
still
therefore
Prose Analysis
A word about this section: There are many processes that will help you to understand prose,
poetry, and drama.
These approaches may not all be suitable for every work, but they certainly are worth
considering as methods for responding to subtleties that are in the work.
Name Analysis
Consider your name. Did your folks have a specific reason for choosing it? Does it have a
KEY IDEA family significance or a special cultural meaning? What would you choose for your name
and why? Remember, names and identity are closely linked.
Authors often choose names that bring another dimension to a character or place. A
good reader is sensitive to the implications of names. Here are a few interesting names and
observations about each:
• Oedipus—swollen foot, seeker of truth
• Billy Budd—simple, melodic, young growth, ready to bloom
• Jane Eyre—Janus/beginning, air, err, heir, ere, eerie, ire
• Helen Burns—fever, fervor, mythological inspiration
• Mr. Mason—the Masons are a secret fraternity; he holds the secret
• Stella—star, light
• Kurtz—short, curt
• Willy Loman—low man
Your Turn
Create your own listing of literary names and their interpretations and implications. (This
could also include place names, etc.)

Literary Work Name Interpretations
It’s an Open-and-Closed Case

The first thing that catches your attention should be the title. By all means, consider it
carefully. David Copperfield lets you know it will be a novel about character. As I Lay Dying
involves plot and theme. One Flew Over the Cuckoo’s Nest involves you immediately in
symbol, character, and theme.
Authors place special emphasis on the first and last impressions they make on a reader.
KEY IDEA The opening and closing lines of chapters or scenes are, therefore, usually very significant
and should be closely examined. (This is much like an establishing shot in a movie that sets
up the audience for future developments.)
Here’s the opening line from Chapter 1 of Jane Eyre:
There was no possibility of taking a walk that day.
Here are some implications of this one line: no independence, locked in, no sense of curios-
ity, outside force preventing a journey, not ready to leave. Obviously, the character is not
ready to experience the outside world or to embark on her journey.
Contrast that with the last line of Chapter 1:
Four hands were laid upon me and I was borne upstairs.
This line introduces a spiritual level to the novel. It also implies that a new Jane will emerge,
and indeed she does.
Take a look at one of the last lines of the novel:
We wended our way into the wood.
This lovely, alliterative line completes the journey. Jane and Edward have come full circle
as they stroll their way together.
In a Shakespearean play, often a couplet at the end of a scene or act will neatly sum-
marize or foreshadow events. In Julius Caesar, for example:
And after this, let Caesar seat him sure
For we will shake him, or worse days endure (Julius Caesar)

Keep a written record of opening and closing lines of complete literary works, chapters,
STRATEGY
scenes, acts. Not only will this develop your interpretative skills, but it will also provide
you with a list of quotations for later use in essays.
Levels of Interpretation
Complex works of literature afford many avenues of interpretation. After you read a work,
KEY IDEA
consider the following areas of exploration. We use Ibsen’s Hedda Gabler as a model.
• Literal level: A young woman is frustrated in her life and eventually commits suicide.
• Social level: Ibsen explores the role of women in society and presents the despair con-
nected with a male-dominated existence.
• Psychological level: The play traces a descent into madness and the motivations for aber-
rant human behavior.
• Religious level: The loss of a soul to temptation, the encounter with the devil, and the
inspiration of godliness are all in the play.
• Sexual level: Gender issues, the Electra complex, phallic symbols, abortion, and homo-
sexuality are all developed and explored through numerous love triangles.
• Political level: The play could be read as a treatise on socialism. It denigrates capitalism
and pays homage to the ideas of Marx’s Communist Manifesto.
Obviously, you need to supply the evidence from the works to develop your interpreta-
tions in a concrete manner.
Note: A word about subtext:

KEY IDEA
Subtext refers to the implied meaning of a work or section of a work. It involves read-
ing between the lines to discover subtle attitudes, comments, and observations within
the piece. The exploration of subtext utilizes all of the interpretative skills you’ve been
developing in your AP course.
Practice looking beyond the literal presentation of the plays, novels, and short stories
you read. The following are richly suitable for such study:
Desire Under the Elms Eugene O’Neill
Heart of Darkness Joseph Conrad
Dubliners James Joyce
The Grapes of Wrath John Steinbeck
Les Miserables Victor Hugo
The Kite Runner Khaled Hosseini
Beloved Toni Morrison
Final Comments
One of the most rewarding forms of preparation you can do involves developing a sensitiv-
STRATEGY ity to the words of a piece of literature.
Get a journal or set aside a section of your notebook for recording lines you respond to
for their beauty, appeal, meaning, or relevance. For each work you read:
• Enter the lines.
• Identify the speaker and situation.

• Interpret, connect, comment, or reflect on your choice.

• Free-associate as well as relate the quotation to the original text.
• Make connections to other works you read.
• Project and expand on the lines.
For each full-length work, record at least ten references. Write these quotations out and
include the page numbers so you can easily find them if you need to. Try to take them from
throughout the work. Here is what is going to happen. Soon, you will automatically iden-
tify and respond to significant lines and passages. It will become second nature for you to
identify lines of import and meaning in a work as you read. You will also begin to remember
lines from a work and to connect them to important details, episodes, and themes. You will
be able to understand and analyze a character in light of his or her own language. In other
words, you will be interpreting literature based on text.
Rapid Review
• Every narrative is composed of plot, setting, character, theme, and point of view.
• Motifs develop characters and themes.
• Themes require specific illustrations to support them.
• There are many types of characters and heroes.
• There are many forms of narration.
• Novels may exhibit many characteristics.
• Meaning may be revealed via multiple approaches.
• Parables and allegories operate on symbolic levels. Connotations of words reveal the
subtext of a work.
• Tone is a description of the attitude found in a piece of literature.
• Transitions aid movement and unity in a written work.
• Titles and names are important areas for analysis.
• First and last lines often carry great meaning in a work and demand careful attention.
• Works may be interpreted literally, socially, psychologically, sexually, politically, and
so on.
• Quotations from works are an accurate way of understanding meaning and characteriza-
tion. They also provide support for your interpretations.


CHAPTER
9
Comprehensive Review—Poetry
IN THIS CHAPTER
Summary: Overview, including definitions, examples, and practice with
poetic forms
KEY IDEA Key Ideas

✪ Learn the differences between poetry and prose
✪ Understand the structure of poetry
✪ Explore various types of poetry
✪ Practice interpreting selected poems
✪ Compare and contrast given poems
Introduction to Poetry
Poetry—the very word inspires fear and trembling, and well it should because it deals with
the intensity of human emotion and the experiences of life itself. But there is no reason to
fear that which elevates, elucidates, edifies, and inspires. Poetry is a gift of language, like
speech and song, and with familiarity comes pleasure and knowledge and comfort.
However, it may still be intimidating to read poetry. After all, we’ve been speaking and
reading prose our entire lives. This review assumes that by the time you reach an AP-level
literature course, you have some experience and facility with poetry. We provide you with
definitions, examples, and practice with interpretation. Hopefully, you will provide the
interest, diligence, and critical thinking necessary for a joyful and meaningful experience.
Remember our philosophy of firsts? First, we believe that you should read as much
KEY IDEA poetry as possible. Early in the year, pick up an anthology of poetry and read, read, read.
Open to any page and read for pleasure and interest. Don’t try to “study” the poems; just
respond to them on an emotional level. Consider the following:
❮ 127

• Identify subjects that move you or engage you.

• Are there certain themes you respond to? Are there certain poets you like? List them and
read more poetry by them.
• Are there certain types or styles of poems you enjoy? What do they seem to have in
common?
• Are there images or lines you love? Keep a record of some of your favorites.
Make this a time to develop a personal taste for poetry. Use this random approach to
experience a broad range of form and content. You should find that you are more comfort-
able with poetry simply because you have been discovering it at your own pace.
When you are comfortable and have honestly tried reading it for pleasure, it is time to
approach it on a more analytical level.
The Structure of Poetry

What Makes Poetry Different from Prose?
How do you know when you’re working with poetry and not prose? Simple. Just look at
KEY IDEA it. It’s shorter; it’s condensed; it’s written in a different physical form. The following might
help you to visualize the basic differences:
Prose Poetry
Words Syllables
Phrases Feet
Sentences Lines
Paragraphs Stanzas
Chapters Cantos
It should not be news to you when we say that poetry sounds different from prose. It is
more musical, and it often relies on sound to convey meaning. In addition, it can employ
meter, which provides rhythm. Did you know that poetry is from the ancient oral tradition
of storytelling and song? Rhyme and meter made it easier for the bards to remember the
story line. Try to imagine Homer in a dimly lit hall chanting the story of Odysseus.
As with prose, poetry also has its own jargon. Some of this lingo is specifically related
to form and meter. The analysis of a poem’s form and meter is termed scansion.
The Foot
The foot is the basic building block of poetry. It is composed of a pattern of syllables. These
patterns create the meter of a poem. Meter is a pattern of beats or accents. We figure out
this pattern by counting the stressed and unstressed syllables in a line. Unstressed syllables
are indicated with a ˘, and stressed syllables are indicated with a ´.
There are five common patterns that are used repeatedly in English poetry. They are:
• The iamb ˘ ´ (tŏ dáy) (bĕ cáuse)
• The trochee ´ ˘ (háp p̆y) (liǵht ly̆)
• The anapest ˘ ˘ ´ (ŏb v ĭ oús) (rĕ gŭ lár)
• The dactyl ´ ˘ ˘ (c ĭg ă ret˘te) (iń tĕr rŭpt)
• The spondee ´ ´ (doẃn toẃn) (sliṕ shód)

Comprehensive Review—Poetry ❮ 129
The Line
Unlike the prose sentence, which is determined by subject, verb, and punctuation, the
poetic line is measured by the number of feet it contains.
• 1 foot monometer
• 2 feet dimeter
• 3 feet trimeter
• 4 feet tetrameter
• 5 feet pentameter
• 6 feet hexameter
• 7 feet heptameter
• 8 feet octameter
• 9 feet nonometer
Your Turn
Now answer the following. How many stressed syllables are in a line of:
Iambic pentameter
Dactylic trimeter
Anapestic dimeter
Spondaic monometer
Trochaic tetrameter
Note: Answers can be found at the end of the definition of “meter” in the Glossary of
terms.
The Stanza
You should now understand that syllables form feet, feet form lines, and lines form stanzas.
Stanzas also have names:
• 1 line a line
• 2 lines couplet
• 3 lines tercet
• 4 lines quatrain
• 5 lines cinquain
• 6 lines sestet
• 7 lines septet
• 8 lines octave
Your Turn
What is the total number that results from adding up all of the metric references in the
following, make-believe poem?
• The poem is composed of 3 quatrains, 2 couplets, and 1 sestet.
• Each quatrain is written in iambic tetrameter.
• The couplets are dactylic dimeter.
• The sestet is trochaic trimeter.
The total number is .
Note: You can find the answer at the end of the definition of “rhythm” in the Glossary
of terms.

You will never have to be this technical on the AP exam. However, you will probably
find a question on meter, and technical terms may be included in the answer choices to
the multiple-choice questions. In addition, sometimes in the poetry essay you may find an
opportunity to use your knowledge of scansion, or your analysis of the rhyme and meter of
the poem, to develop your essay. This can be very effective if it is linked to interpretation.
Rhyme
One of the first processes you should become familiar with concerns the identification of
a poem’s rhyme scheme. This is easily accomplished by assigning consecutive letters of the
alphabet to each new sound at the end of a line of poetry. Traditionally, rhyme scheme is
indicated with italicized, lowercase letters placed to the right of each line of the poem.
• a for the first
• b for the second
• c for the third
• d, e, and so forth
Try this with the opening stanza from “Peace” by George Herbert.
Sweet Peace, where dost thou dwell? I humbly crave,
Let me once know.
I sought thee in a secret cave,
And asked if Peace were there.
A hollow wind did seem to answer, “No,
Go seek elsewhere.”
You may restart the scheme with each new stanza or continue throughout the poem.
Remember, the purpose is to identify and establish a pattern and to consider if the pattern
helps to develop sound and/or meaning. Here’s what the rhyme scheme looks like for the
above selection: a b a c b c.
When you analyze the pattern of the complete poem, you can conclude that there is a
very regular structure to this poem which is consistent throughout. Perhaps the content will
also reflect a regular development. Certainly the rhyme enhances the sound of the poem
and helps it flow. From now on we will refer to rhyme scheme when we encounter a new
poem.
The rhymes we have illustrated are called end rhymes and are the most common.
Masculine rhyme is the most frequently used end rhyme. It occurs when the last stressed
syllable of the rhyming words matches exactly. (“The play’s the thing/Wherein I’ll catch
the conscience of the king.”) However, there are internal rhymes as well. These rhymes
occur within the line and add to the music of the poem. An example of this is dreary, in
Poe’s “The Raven” (“Once upon a midnight dreary, while I pondered, weak and weary”).
Feminine rhyme involves two consecutive syllables of the rhyming words, with the first
syllable stressed. (“The horses were prancing / as the clowns were dancing.”)
Types of Poetry
Because of its personal nature, poetry has evolved into many different forms, each with its
KEY IDEA own unique purpose and components. What follows is an examination of the most often
encountered forms.

Most poetry falls into one of two major categories. Narrative poetry tells a story. Lyric
KEY IDEA poetry presents a personal impression.
The Ballad
The ballad is one of the earliest poetic forms. It is a narrative that was originally spoken or
sung and has often changed over time. It usually:
• Is simple.
• Employs dialogue, repetition, minor characterization.
• Is written in quatrains.
• Has a basic rhyme scheme, primarily a b c b.
• Has a refrain which adds to its songlike quality.
• Is composed of two lines of iambic tetrameter which alternate with two lines of iambic
trimeter.
The subject matter of ballads varies considerably. Frequently, ballads deal with the
events in the life of a folk hero, like Robin Hood. Sometimes they retell historical events.
The supernatural, disasters, good and evil, love and loss are all topics found in traditional
ballads.
The following is a typical folk ballad. Read this poem out loud. Listen to the music as
you read. Get involved in the story. Imagine the scene. Try to capture the dialect or sound
of the Scottish burr.
Bonny Barbara Allan

by Anonymous
It was in and about the Martinmas time,

When the green leaves were falling,
That Sir John Graeme, in the West Country,
Fell in love with Barbara Allan.
He sent his man down through the town, 5

To the place where she was dwelling:
“O haste and come to my master dear,
Gin ye be Barbara Allan.”
O hooly, hooly rose she up,

To the place where he was lying, 10
And when she drew the curtain by:
“Young man I think you’re dying.”
“O it’s I’m sick, and very, very sick,

And ’tis a’ for Barbara Allan.”
O the better for me ye’s never be, 15
Though your heart’s blood were a-spilling.
“O dinna ye mind, young man,” said she,

“When ye was in the tavern a drinking,

That ye made the healths gae round and round,

And slighted Barbara Allan?” 20
He turned his face unto the wall,

And death was with him dealing:
“Adieu, adieu, my dear friends all,
And be kind to Barbara Allan.”
And slowly, slowly raise she up, 25

And slowly, slowly left him,
And sighing said, she could not stay,
Since death of life had reft him.
She had not gane a mile or twa,

When she heard the dead-bell ringing, 30
And every jow that the dead bell geid,
It cried, “Woe to Barbara Allan.”
“O mother, mother, make my bed!

O make it saft and narrow!
Since my love died for me to-day, 35
I’ll die for him to-morrow.”
After you’ve read the ballad, consider the following:

1. Check the rhyme scheme and stanza form. You should notice it is written in quatrains.
STRATEGY The rhyme scheme is a little tricky here; it depends on pronunciation and is what is
called a forced rhyme. If you soften the “g” sound in the word “falling,” it more closely
rhymes with “Allan.” Try this throughout the ballad, recognizing that the spoken word
can be altered and stretched to fit the intention of rhyme. This falls under the category
of “poetic license.”
2. Follow the plot of the narrative. Poor Barbara Allan, poor Sir John. They are a classic
example of thwarted young lovers, a literary pattern as old as Antigone and Haemon or
Romeo and Juliet. Love, unrequited love, and dying for love are all universal themes in
literature.
3. Observe the use of repetition and how it unifies the poem by sound and structure.
“Barbara Allan/Hooly, hooly/Adieu, adieu/Slowly, slowly/Mother, mother.”
4. Notice that dialogue is incorporated into the poem for characterization and plot
development.
TIP
Don’t be too inflexible when checking rhyme or meter. Remember, never sacrifice mean-
ing for form. You’re smart; you can make intellectual leaps.
Here are some wonderfully wicked and enjoyable ballads to read:
“Sir Patrick Spens”—the tragic end of a loyal sailor

“The Twa Corbies”—the irony of life and nature
“Edward”—a wicked, wicked, bloody tale
“Robin Hood”—still a great, grand adventure

“Lord Randall”—sex, lies, and death in ancient England

“Get Up and Bar the Door”—a humorous battle of the sexes
“La Belle Dame Sans Merci”—John Keats’s fabulous tale of a demon lover
Have you read ballads? Traditional or modern? List them here. Jot down a few details
or lines to remind you of important points. If you’re musical, try singing one out loud.
The Lyric
Lyric poetry is highly personal and emotional. It can be as simple as a sensory impression
or as elevated as an ode or elegy. Subjective and melodious, it is often reflective in tone.
The following is an example of a lyric:
A Red, Red Rose

by Robert Burns
O my luve’s like a red, red rose,

That’s newly sprung in June;
O my luve’s like the melodie
That’s sweetly played in tune.
As fair art thou, my bonnie lass, 5

So deep in luve am I;
And I will luve thee still, my dear,
Till a’ the seas gang dry.
Till a’ the seas gang dry, my dear,

And the rocks melt wi’ the sun: 10
O I will luve thee still, my dear,
While the sands o’ life shall run.
And fare the weel, my only luve,

And fare the weel awhile!
And I will come again, my luve, 15
Though it were ten thousand mile.
Now answer the following questions:

1. The stanza form is
2. The rhyme scheme is
3. The meter of line 6 is

4. The first stanza depends on similes. Underline them.

5. Cite assonance in stanza one.
7. Highlight alliteration in the poem.
8. Did you recognize iambic trimeter? How about hyperbole?
The following are wonderful lyric poems. Read a few.
Edna St. Vincent Millay—“Childhood Is the Kingdom Where Nobody Dies”
Emily Dickinson—“Wild Nights, Wild Nights”
Dylan Thomas—“Fern Hill”
Matthew Arnold—“Dover Beach”
Andrew Marvell—“To His Coy Mistress”
The Ode
The ode is a formal lyric poem that addresses subjects of elevated stature. One of the most
beautiful odes in English literature is by Percy Bysshe Shelley.
Ode to the West Wind

O wild West Wind, thou breath of Autumn’s being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,
Yellow, and black, and pale, and hectic red,

5
Pestilence-stricken multitudes: O thou,
Who chariotest to their dark wintry bed
The wingéd seeds, where they lie cold and low,

Each like a corpse within the grave, until
Thine azure sister of the Spring shall blow
10
Her clarion* o’er the dreaming earth, and fill
(Driving sweet buds like flocks to feed in air)
With living hues and odors plain and hill:
Wild Spirit, which art moving everywhere;

Destroyer and preserver; hear, oh, hear!
2
15
Thou on whose stream, mid the steep sky’s commotion,
Loose clouds like earth’s decaying leaves are shed,
Shook from the tangled boughs of Heaven and Ocean,
Angels of rain and lightning: there are spread

On the blue surface of thine aery surge,
20
Like the bright hair uplifted from the head
*Melodious trumpet call

Of some fierce Maenad,* even from the dim verge

Of the horizon to the zenith’s height,
The locks of the approaching storm. Thou dirge
Of the dying year, to which this closing night

Will be the dome of a vast sepulcher, 25
Vaulted with all thy congregated might
Of vapors, from whose solid atmosphere

Black rain, and fire, and hail will burst: oh, hear!
3
Thou who didst waken from his summer dreams
The blue Mediterranean, where he lay, 30
Lulled by the coil of his crystalline streams
Beside a pumice isle in Baiae’s† bay,

And saw in sleep old palaces and towers
Quivering within the wave’s intenser day,
All overgrown with azure moss and flowers 35

So sweet, the sense faints picturing them! Thou
For whose path the Atlantic’s level powers
Cleave themselves into chasms, while far below

The sea-blooms and the oozy woods which wear
The sapless foliage of the ocean, know 40
Thy voice, and suddenly grow gray with fear,

And tremble and despoil themselves: oh, hear!
4
If I were a dead leaf thou mightest bear;
If I were a swift cloud to fly with thee;
A wave to pant beneath thy power, and share 45
The impulse of thy strength, only less free

Than thou, O uncontrollable! If even
I were as in my boyhood, and could be
The comrade of thy wanderings over Heaven,

As then, when to outstrip thy skiey speed 50
Scarce seem a vision; I would ne’er have striven
As thus with thee in prayer in my sore need.

Oh, lift me as a wave, a leave, a cloud!
I fall upon the thorns of life! I bleed!
*Frenzied dancer
†A village near Naples, Italy

A heavy weight of hours has chained and bowed 55

One too like thee: tameless, and swift, and proud.
5
Make me thy lyre,* even as the forest is:
What if my leaves are falling like its own!
The tumult of thy mighty harmonies
Will take from both a deep, autumnal tone, 60

Sweet though in sadness. Be thou, Spirit fierce,
My spirit! Be thou me, impetuous one!
Drive my dead thoughts over the universe

Like withered leaves to quicken a new birth!
And, by the incantation of this verse, 65
Scatter, as from an unextinguished hearth

Ashes and sparks, my words among mankind!
Be through my lips to unawakened earth
The trumpet of a prophecy! O Wind, 70

If Winter comes, can Spring be far behind?
*Small, harplike instrument
As always, read the poem carefully. (Find a private place and read it aloud. You’ll be car-
ried away by the beauty of the sounds and imagery.) Now answer the following questions.
1. Look at the configuration of the poem. It is divided into five sections. What function
might each section serve?
2. Count the lines in each section. How many? Name the two stanza forms
you encountered.
3. Check the rhyme scheme. Did you come up with a b a b c b c d c d e d e e? The first
four tercets are written in a form called terza rima. Notice how this rhyme scheme inter-
weaves the stanzas and creates unity throughout the poem. Did it cross your mind that
each section might be a variation on the sonnet form?
4. Check the meter. You should notice that it is very irregular. (Freedom of form was a
tenet of the Romantic Movement.)
5. Stanza one: Did you catch the apostrophe? The direct address to the wind places us in
the poem’s situation and provides the subject of the ode. Highlight the alliteration and
trace the similes in line 3.
6. Stanza two: What are the “pestilence-stricken multitudes”? In addition to leaves, could
they be the races of man?

7. Stanza three: See how the enjambment pulls you into this line. Find the simile.
Alliteration can be seen in “azure,” “sister,” “Spring,” “shall.”
8. Stanza four: What images are presented? Locate the simile.

Find the contrast between life and death.
Highlight the personification.
9. Identify the essential paradox of the poem and life itself in the couplet.
We are not going to take you through the poem line by line. You may isolate those lines
that speak to you. Here are a few of our favorites that are worth a second look:
• Lines 29–31
• Lines 35–42 for assonance
• Lines 53–54
• Lines 55–56
• Lines 57–70
You should be able to follow the development of ideas through the five sections. Were
you aware of:
• The land imagery in section 1?
• The air imagery in section 2?
• The water imagery in section 3?
• The comparison of the poet to the wind in section 4?
• The appeal for the spirit of the wind to be the poet’s spirit in section 5?
After you have read the poem, followed the organization, recognized the devices and
images, you still have to interpret what you’ve read.
This ode has many possibilities. One interpretation linked it with the French
Revolution and Shelley’s understanding of the destructive regeneration associated with it.
Another valid reading focuses on Shelley’s loss of faith in the Romantic Movement. He asks
for inspiration to breathe life into his work again. Try to propose other interpretations for
this “Ode to the West Wind.”
The Elegy
The elegy is a formal lyric poem written in honor of one who has died. Elegiac is the adjec-
tive that describes a work lamenting any serious loss.
One of the most famous elegies is by Percy Bysshe Shelley. It was written to mourn
the loss of John Keats. Here is the first stanza of “Adonais.” It contains all the elements of
an elegy.
Adonais*
I weep for Adonais—he is dead!
O, weep for Adonais! Though our tears
Thaw not the frost which binds so dear a head!
And thou, sad Hour, selected from all years
To mourn our loss, rouse thy obscure compeers, 5

And teach them thine own sorrow, say: “With me

Died Adonais; till the Future dares
Forget the Past, his fate and fame shall be
An echo and a light unto eternity!”
* An elegy on the death of John Keats, author of “Endymion,” “Hyperion,” etc.
Read this stanza several times. Try it aloud. Get carried away by the emotion. Respond
to the imagery. Listen to the sounds; let the meter and rhyme guide you through. Consider
the following:
1. Adonais, Shelley’s name for Keats, is derived from Adonis. This is a mythological allu-
sion to associate Keats with love and beauty. (The meter will tell you how to pronounce
Adonais.)
2. Check the rhyme scheme. Did you come up with a b a b b c b c c? See how the last two
lines are rhymed to set this idea apart.
3. Line 1 contains a major caesura in the form of a dash. This forces the reader to pause
and consider the depth of emotion and the finality of the event. The words that follow
are also set off by the caesura and emphasized by the exclamation point. Notice that
the meter is not interrupted by the caesura. ( ˘ ´ ˘ ´ ˘ ´ ˘ ´ ˘ ´ is perfect iambic
pentameter.) This line is a complete thought which is concluded by punctuation and is
an example of an end-stopped line.
4. Line 2 utilizes repetition to intensify the sense of loss. Here the caesura is an exclamation
point. Notice that the last three words of the line fulfill the meter of iambic pentameter
but do not express a complete thought as did line 1. The thought continues into line 3.
This is an example of enjambment.
5. Lines 2 and 3 contain alliteration (“Though,” “tears,” “Thaw,” “the”) and consonance
(“not,” “frost,” continuing into line 4 with “thou”).
6. Line 3 contains imagery and metaphor. What does the frost represent?
7. Line 4 contains an apostrophe, which is a direct address to the sad Hour, which is per-
sonified. To what event does the “sad Hour” refer?
8. Lines 4, 5, and 6 incorporate assonance. The vowel sounds provide a painful tone
through “ow” sounds (“thou,” “Hour,” “our,” “rouse,” “sorrow”).
9. Notice how the enjambment in lines 7–9 speeds the stanza to the final thought. This
helps the pacing of the poem.
10. Reread the poem. Choose images and lines you respond to.

Have you read any elegies? List them here. Jot down the poet, title, and any images and
lines you like. Add your own thoughts about the poem.
Following is a list of some of the most beautiful elegies in the English language. Make
it a point to read several. You won’t be sorry.
“Elegy for Jane” by Theodore Roethke—a teacher’s lament for his student.
“Elegy in a Country Church Yard” by Thomas Gray—a reflective look at what might
have been.
“When Lilacs Last in the Dooryard Bloomed” and “O Captain, My Captain” by Walt
Whitman—tributes to Abraham Lincoln.
“In Memory of W. B. Yeats” by W. H. Auden—a poet’s homage to a great writer.
The Dramatic Monologue

The dramatic monologue relates an episode in a speaker’s life through a conversational
format that reveals the character of the speaker.
Robert Browning is the acknowledged master of the dramatic monologue. The follow-
ing is an example of both the dramatic monologue and Browning’s skill as a poet.
Porphyria’s Lover
The rain set early in tonight,
The sullen wind was soon awake,
It tore the elm-tops down for spite,
And did its worst to vex the lake:
I listened with heart fit to break. 5
When glided in Porphyria; straight
She shut the cold out and the storm,
And kneeled and made the cheerless grate
Blaze up, and all the cottage warm;
Which done, she rose, and from her form 10
Withdrew the dripping cloak and shawl,
And laid her soiled gloves by, untied
Her hat and let the damp hair fall,
And, last, she sat down by my side
And called me. When no voice replied, 15
She put my arm about her waist,
And made her smooth white shoulder bare,
And all her yellow hair displaced,
And, stooping, made my cheek lie there,
And spread, o’er all, her yellow hair, 20

Murmuring how she loved me—she

Too weak, for all her heart’s endeavor,
To set its struggling passion free
From pride, and vainer ties desever,
And give herself to me forever. 25
But passion sometimes would prevail,
Nor could tonight’s gay feast restrain
A sudden thought of one so pale
For love of her, and all in vain:
So, she was come through wind and rain. 30
Be sure I looked up at her eyes
Happy and proud; at last I knew
Porphyria worshipped me: surprise
Made my heart swell, and still it grew
While I debated what to do. 35
That moment she was mine, mine, fair,
Perfectly pure and good: I found
A thing to do, and all her hair
In one long yellow string I wound
Three times her little throat around, 40
And strangled her. No pain felt she;
I am quite sure she felt no pain.
As a shut bud that holds a bee,
I warily oped her lids: again
Laughed the blue eyes without a stain. 45
And I untightened next the tress
About her neck; her cheek once more
Blushed bright beneath my burning kiss:
I propped her head up as before,
Only, this time my shoulder bore 50
Her head, which droops upon it still:
The smiling rosy little head,
So glad it has its utmost will,
That all it scorned at once is fled,
And I, its love, am gained instead! 55
Porphyria’s love: she guessed not how
Her darling one wish would be heard.
And thus we sit together now,
And all night long we have not stirred,
And yet God has not said a word! 60
Read the poem aloud, or have someone read it to you. Try for a conversational tone.
1. Concentrate on following the storyline. (Were you surprised by the concluding events?)
2. Once you know the “story,” look closely at the poem for all the clues concerning char-
acter and episode.

3. Automatically check for the relationship between form and content. Quickly scan for
rhyme scheme and meter. You should notice a definite presence of rhyme in an unusual
form a b a b b c d c d d e f e f f, etc. You should be able to recognize that the meter is
iambic tetrameter. Rather than scan the entire poem, try lines throughout to see if a
pattern exists.
4. Lines 1–5: What does the setting indicate or foreshadow?
Lines 6–9: What diction and imagery is associated with Porphyria?

Lines 10–12: Why are we told her gloves were soiled?

Lines 20–25: Try to understand what the narrator is telling you here.
This reveals what is important to him.
Lines 30–37: Have you found the turning point?
Remember, literary analysis is like unraveling a mystery. Find motivational and psycho-
logical reasons for the narrator’s behavior.

Line 41: Notice how the caesura emphasizes the finality of the event. You are forced to
confront the murder directly because of the starkness of the syntax. This is followed
by the narrator’s justification.
Line 43: Did you catch the simile? It’s a little tricky to spot when “as” is the first word.

Line 55: What character trait is revealed by the narrator?

Lines 59–60: Notice how the rhyming couplet accentuates the final thought and sets it
off from the previous lines. Interpret the last line. Did you see that the last two lines
are end-stopped, whereas the majority of the poem utilizes enjambment to create a
conversational tone?

5. Did you enjoy this poem? Did you feel as if you were being spoken to directly?

The AP often uses dramatic monologues because they can be very rich in narrative
detail and characterization. This is a form you should become familiar with by read-
ing several from different times and authors. Try one of these: Robert Browning —“My
Last Duchess,” “The Soliloquy of the Spanish Cloister,” “Andrea Del Sarto”; Alfred Lord
Tennyson —“Ulysses.”

How many dramatic monologues have you read? List them here and add details and
lines that were of interest and /or importance to you.
The Sonnet
The sonnet is the most popular fixed form in poetry. It is usually written in iambic pen-
tameter and is always made up of 14 lines. There are two basic sonnet forms: the Italian
or Petrarchan sonnet, named after Petrarch, the poet who created it, and the English or
Shakespearean sonnet, named after the poet who perfected it. Each adheres to a strict rhyme
scheme and stanza form.
The subject matter of sonnets varies greatly, from expressions of love to philosophical
considerations, religious declarations, or political criticisms. The sonnet is highly polished,
and the strictness of its form complements the complexity of its subject matter. As you
know by now, we like to explore the relationship between form and function. The sonnet
effectively integrates these two concepts.
Let’s compare the two forms more closely. The Italian sonnet is divided into an octave
and a sestet. The rhyme scheme is:
a
b
b
Octave a
By observing the natural break between the
a octave and the sestet and noting how the rhyme
b connects the lines in each, you should see that
b this form would be suitable for organizing the
a poem in the following ways:
• General to specific
• Comparison and contrast
c
• Question and answer
d • Cause and effect
Sestet e • Before and after
c
d
e

The Shakespearean sonnet has a different rhyme scheme and stanza form:
a
b
Quatrain
a This form is comprised of three quatrains and a
b couplet. The rhyme scheme indicates the separate
nature of each stanza. The Shakespearean sonnet’s
c quatrains lend themselves to the following organi-
d zational patterns:
Quatrain
c • Beginning, middle, end
d • Thesis, example, example
• Past, present, future
e • Morning, noon, night
• Birth, life, death
f
Quatrain
e
f
The couplet then serves to present:

g
Couplet { g
• A summary
• A conclusion
• A universal statement
Modern sonnets often vary rhyme and stanza form, but they will always have 14 lines.
For more practice with the sonnet, see Poems for Comparison and Contrast in this
chapter. We recommend you read sonnets written by Shakespeare, Milton, Wordsworth,
e e cummings, Edna St. Vincent Millay, and Keats.
The Villanelle
The villanelle is a fixed form in poetry. It has six stanzas: five tercets, and a final quatrain.
It utilizes two refrains: The first and last lines of the first stanza alternate as the last line of
the next four stanzas and then form a final couplet in the quatrain.
As an example, read: “Do Not Go Gentle Into That Good Night” by Dylan Thomas.
Other villanelles that are worth a close reading include “The Art of Losing” by Elizabeth
Bishop and “The Waking” by Theodore Roethke.
Interpretation of Poetry
Interpretation is not license for you to say just anything. Your comments/analysis/
KEY IDEA interpretation must be based on the given text.

How Do I Begin to Interpret Poetry?

To thoroughly understand a poem, you should be able to view it and read it from three
STRATEGY different angles or viewpoints.
The first level is the literal reading of the poem. This is the discovery of what the poem
is actually saying. For this, you only use the text:
• Vocabulary
• Structure
• Imagery
• Poetic devices
The second level builds on the first and draws conclusions from the connotation of the form
and content and the interpretation of symbols. The third level refers to your own reading
and interpretation of the poem. Here, you apply the processes of levels one and two, and
you bring your own context or frame of reference to the poem. Your only restriction is that
your interpretation is grounded in, and can be supported by, the text of the poem itself.
To illustrate this approach, let’s analyze a very simple poem.
Where ships of purple gently toss
On seas of daffodil,
Fantastic sailors mingle
And then, the wharf is still.
1. Read it.
STRATEGY
2. Respond. (You like it; you hate it. It leaves you cold. Whatever.)
3. Check rhyme and meter. We can see there is some rhyme, and the meter is iambic and
predominantly trimeter. The first and third lines are irregular. (If this does not prove to
be critical to your interpretation of the poem, move on.)
4. Check the vocabulary and syntax. Are there any words you are not familiar with?
5. Look for poetic devices and imagery.
6. Highlight, circle, connect key images and words.
7. Begin to draw inferences from the adjectives, phrases, verbs.
As an example, we have provided the following notes:
Movement
• Toss
• Mingle Progression
• Still
Images
• Ships
• Seas Literally nautical
• Sailors Figuratively on a dock
• Wharf

Syntax
• Ships of purple = purple ships (Where or when do you see purple ships?)
• Seas of daffodil = daffodil seas (When would seas be yellow?)
• Fantastic sailors = sailors of fantasy = clouds moving, birds flying (What might they be?)
• Wharf is still = place is quiet = ?
Put your observations together and formulate your interpretation. Write it below.
Some students have said that they saw a field of flowers, bees and butterflies, a corona-
tion, a celebration, and/or a royal event. These are all valid interpretations. Remember, this
is only a simple exercise to acquaint you with the approaches you can use to analyze com-
plex poetry. By the way, Emily Dickinson was writing about a sunset over Boston harbor.
Poetry for Analysis

This section will walk you through the analysis of several poems, presenting the poetry
and a series of directed questions for you to consider. For maximum benefit, work with a
highlighter and refer often to the poem. Always read the entire poem before you begin the
analysis.
The Snake
by D. H. Lawrence
A snake came to my water-trough

On a hot, hot day, and I in pyjamas for the heat
To drink there.
In the deep, strange-scented shade of the great dark carobtree

I came down the steps with my pitcher 5
And must wait, must stand and wait, for there he was at the trough
before me.
He reached down from a fissure in the earth-wall in the gloom

And trailed his yellow-brown slackness soft-bellied down, over the
edge of the stone trough, 10
And rested his throat upon the stone bottom,
And where the water had dripped from the tap, in a small clearness,
He sipped with his straight mouth,
Softly drank through his straight gums, into his slack long body,
Silently. 15
Someone was before me at my water trough,

And I, like a second comer, waiting.
He lifted his head from his drinking, as cattle do,
And looked at me vaguely, as drinking cattle do,

And flickered his two-forked tongue from his lips, and mused a 20
moment,
And stooped and drank a little more,
Being earth-brown, earth-golden from the burning bowels of the earth
On the day of Sicilian July, with Etna smoking.
The voice of my education said to me 25

He must be killed,
For in Sicily the black, black snakes are innocent, the gold are
venomous.
The voice in me said, If you were a man

You would take a stick and break him now, and finish him off. 30
But must I confess how I liked him,

How glad I was he had come like a guest in quiet, to drink at my
water-trough
And depart peaceful, pacified, and thankless,
Into the burning bowels of this earth? 35
Was it cowardice, that I dared not kill him?

Was it perversity, that I longed to talk to him?
Was it humility, to feel so honoured?
I felt so honoured.
And yet those voices: 40

If you were not afraid, you would kill him!
And truly I was afraid, I was most afraid,
But even so, honoured still more
That he should seek my hospitality
From out the dark door of the secret earth. 45
He drank enough
And lifted his head, dreamily, as one who has drunken,
And flickered his tongue like a forked night on the air, so black,
Seeming to lick his lips,
And looked around like a god, unseeing, into the air, 50
And slowly turned his head,
And slowly, very slowly, as if thrice a dream,
Proceeded to draw his slow length curving round
And climb again the broken bank of my wall-face.
And as he put his head into that dreadful hole, 55

And as he slowly drew up, snake-easing his shoulders, and entered
farther,
A sort of horror, a sort of protest against his withdrawing into that
horrid black hole,
Deliberately going into blackness, and slowly drawing himself 60
after,
Overcame me now his back was turned.

I looked round, I put down my pitcher,

I picked up a clumsy log
And threw it at the water-trough with a clatter. 65
I think it did not hit him,

But suddenly that part of him that was left behind convulsed in
undignified haste,
Writhed like lightning, and was gone
Into the black hole, the earth-lipped fissure in the wall-front, 70
At which, in the intense still noon, I stared with fascination.
And immediately I regretted it.

I thought how paltry, how vulgar, what a mean act!
I despised myself and the voices of my accursed human education.
And I thought of the albatross, 75
And I wished he would come back, my snake.
For he seemed to me again like a king,

Like a king in exile, uncrowned in the underworld,
Now due to be crowned again.
And so, I missed my chance with one of the lords 80
Of life.
And I have something to expiate:
A pettiness.
1. Since there is no regular rhyme scheme or length of lines or stanza form, we may con-
clude that this is free verse. Yes No
2. After reading the poem, you should be able to determine the situation, which is
, and the speaker, who is
.
3. The first stanza establishes the conflict, which is
.
4. Find evidence of the developing conflict in lines 4–6.
5. Find examples of alliteration and assonance in lines 7–13. Notice how the sounds are
appropriate for a snake rather than just random sounds.
6. Read line 12 aloud. Hear how slowly and “long” the sounds are, like the body of the
snake itself.
7. Circle or highlight the imagery in lines 16–24.
Notice how the scene is intensifying.
8. Restate the speaker’s position in lines 25–28.
9. In lines 31–38, identify the conflict and the thematic ideas of the poem. Highlight
them.

10. Identify the opposition facing the speaker in lines 36–39. State it.

11. In lines 46–54, highlight the similes presented. Explore the nature of a snake and the
connotation associated with one.
12. Interpret the setting as presented in lines 55–62.
13. The poem breaks at line 63. Highlight the change in the speaker at this point. Who is
to blame for this action?
14. In line 75 there is a reference or allusion to the “Rime of the Ancient Mariner” by
Coleridge, which is a poem in which a man learns remorse and the meaning of life as
the result of a cruel, spontaneous act. Is this a suitable comparison for this poem’s cir-
cumstances? Why?
15. Identify the similes and metaphor in lines 66–71.
16. Elaborate on the final confession of the speaker. May we conclude that the poem is a
modern dramatic monologue?
TIP
After you have considered these ideas, expand your own observations. Might the entire
poem be a metaphor? Can it be symbolic of other pettinesses? Can you interpret this
poem socially, religiously, politically, psychologically, sexually?
The following poem is particularly suitable for the interpretation of symbolism. Apply
what you have learned and reviewed and respond to this sample.
The Sick Rose

by William Blake
O Rose, Thou Art Sick!

The Invisible Worm
That flies in the night
In the howling Storm,
Has found out thy bed

Of Crimson joy,
And his dark secret love
Does thy life destroy.

Try your hand at interpreting this poem:

STRATEGY
1. Literally
2. Sexually
3. Philosophically
4. Religiously
5. Politically
Apply the following thematic concepts to the poem:
1. Passion
2. Deceit
3. Betrayal
4. Corruption
5. Disease
6. Madness
Interesting, isn’t it, how much can be found or felt in a few lines. Read other poems by
Blake, such as “Songs of Innocence” and “Songs of Experience.”
Poems for Comparison and Contrast

Sometimes the AP exam requires you to compare and contrast two poems or prose selections
KEY IDEA in the essay section. Do not panic. The selections will usually be short and the points of
comparison or contrast plentiful and accessible. This type of question can be interesting
and provide you with a chance to really explore ideas.
Following are two poems suitable for this kind of analysis. Read each poem carefully.
Take a minute to look at them and allow a few ideas to take shape in your mind. Then plan
your approach logically. Remember, form and content are your guidelines.
She Walks in Beauty

by Lord Byron
She walks in Beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light 5
Which heaven to gaudy day denies.
One shade the more, one ray the less,

Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face; 10
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.

And on that cheek, and o’er that brow,

So soft, so calm, yet eloquent,
The smiles that win, the tints that glow, 15
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
Sonnet 130
by William Shakespeare
My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked red and white, 5
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound; 10
I grant I never saw a goddess go:
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
It is essential that you read each poem again, marking, highlighting, connecting, etc.
STRATEGY those points you will develop. List or chart your findings before you begin to write your
essay.
Common Elements
• Both have the same topic—to a lover

• Both use similes: “She Walks”—“like the night”; “Sonnet 130”—“nothing like the sun”
• Both rely on nature imagery: “She Walks”—“starry skies”; “Sonnet 130”—“Coral, roses”
• Both deal with light or dark
• Both include references to lover’s hair: “She Walks”—“raven tress”; “Sonnet 130”—
“black wires”
• Both appeal to the senses: “She Walks”—“raven tress”; “Sonnet 130”—perfume, roses,
music, garlic stink
• Both use alliteration: “She Walks”—“cloudless climes”; “Sonnet 130”—“goddess go”
Differences
• Form: “She Walks” lyric, has sestets; “Sonnet 130,” 12 + 2 (3 quatrains and couplet)
“Practice. Practice. • Kind of love: “She Walks” serious and adoring; “Sonnet 130”—critical and humorous
Practice.” • Diction: “She Walks”—positive; “Sonnet 130”—negative
—Martha W. • Ending: “She Walks”—adoring; “Sonnet 130”—realistic
AP teacher • Tone: “She Walks”—idyllic; “Sonnet 130”—realistic

To recap: If you are given two selections, consider the following:

• What is the form or structure of the poems?
• What is the situation or subject of each?
• How are the poetic devices used?
• What imagery is developed?
• What thematic statements are made?
• What is the tone of each poem?
• What is the organization or progression of each poem?
• What attitudes are revealed?
• What symbols are developed?
Rapid Review
• Poetry has its own form.
• The foot, line, and stanza are the building blocks of poetry.
• Meter and rhyme are part of the sound of poetry.
• There are many types of rhyme forms.
• There are many types of poetic feet. They may be iambic, trochaic, anapestic, dactylic,
or spondaic.
• There are several stanza forms.
• Narrative poetry tells stories.
• Ballads are simple narratives.
• Lyric poetry is subjective and emotional.
• Odes are formal lyrics that honor something or someone.
• Elegies are lyrics that mourn a loss.
• Dramatic monologues converse with the reader as they reveal events.
• The sonnet is a 14-line form of poetry.
• The villanelle is a fixed form that depends on refrains.
• Levels of interpretation depend on the literal and figurative meaning of poems.
• Symbols provide for many levels of interpretation.
• When comparing and contrasting poems, remember to consider speaker, subject, situa-
tion, devices, tone, and theme.


STEP 5
Build Your Test-
Taking Confidence
Practice Exam 1
Practice Exam 2


PRACTICE EXAM 1
ANSWER SHEET FOR MULTIPLE-CHOICE QUESTIONS
1.
— 18.
— 35.
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2.
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3.
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— 37.
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4.
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5.
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6.
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7.
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8.
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9.
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10.
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— 44.
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11.
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12.
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13.
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14.
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15.
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16.
— 33.
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17.
— 34.
— 51.
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“I need to honestly time myself on the practice exams, or else I don’t really concentrate the way I should.”
—Carol K.
AP student
❮ 155

156 ❯ STEP 5. Build Your Test-Taking Confidence
I did did not complete this part of the test in the allotted 1 hour.
I had correct answers. I had incorrect answers. I left blank.
of questions:

Practice Exam 1 ❮ 157
PRACTICE EXAM 1
ADVANCED PLACEMENT ENGLISH LITERATURE
Section I
Total time—1 hour
Carefully read the following passages and answer the questions that follow. Questions 1–14 are based on the
following passage.
Bleak House
by Charles Dickens
Excerpt from Chapter 1—“In Chancery”

LONDON. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln’s Inn
Hall. Implacable November weather. As much mud in the streets as if the waters had but newly
retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty
feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from
chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown 5
snowflakes—gone into mourning, one might imagine, for the death of the sun. Dogs,
undistinguishable in mire. Horses, scarcely better; splashed to their very blinkers. Foot
passengers, jostling one another’s umbrellas in a general infection of ill-temper, and losing their
foot-hold at street-corners, where tens of thousands of other foot passengers have been slipping
and sliding since the day broke (if the day ever broke), adding new deposits to the crust upon 10
crust of mud, sticking at those points tenaciously to the pavement, and accumulating at
compound interest.
Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down
the river, where it rolls defiled among the tiers of shipping and the waterside pollutions of a great
(and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the 15
cabooses of collier-brigs; fog lying out on the yards, and hovering in the rigging of great ships;
fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient
Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the
afternoon pipe of the wrathful skipper, down in his close cabin; fog cruelly pinching the toes and
fingers of his shivering little ’prentice boy on deck. Chance people on the bridges peeping over 20
the parapets into a nether sky of fog, with fog all round them, as if they were up in a balloon, and
hanging in the misty clouds.
Gas* looming through the fog in divers places in the streets, much as the sun may, from the
spongey fields, be seen to loom by husbandman and ploughboy. Most of the shops lighted two
hours before their time—as the gas seems to know, for it has a haggard and unwilling look. 25
The raw afternoon is rawest, and the dense fog is densest, and the muddy streets are muddiest
near that leaden-headed old obstruction, appropriate ornament for the threshold of a leaden-
headed old corporation, Temple Bar. And hard by Temple Bar, in Lincoln’s Inn Hall, at the very
heart of the fog, sits the Lord High Chancellor in his High Court of Chancery.
* (23) gas: gas lights

Never can there come fog too thick, never can there come mud and mire too deep, to assort 30
with the groping and floundering condition which this High Court of Chancery, most pestilent of
hoary sinners, holds this day in the sight of heaven and earth.
On such an afternoon, if ever, the Lord High Chancellor ought to be sitting here—as here he
is—with a foggy glory round his head, softly fenced in with crimson cloth and curtains,
addressed by a large advocate with great whiskers, a little voice, and an interminable brief, and 35
outwardly directing his contemplation to the lantern in the roof, where he can see nothing but
fog. On such an afternoon some score of members of the High Court of Chancery bar ought to be
—as here they are—mistily engaged in one of the ten thousand stages of an endless cause,
tripping one another up on slippery precedents, groping knee-deep in technicalities, running their
goat-hair and horse-hair* warded heads against walls of words and making a pretence of equity 40
with serious faces, as players might. On such an afternoon the various solicitors in the cause,
some two or three of whom have inherited it from their fathers, who made a fortune by it, ought
to be—as are they not?—ranged in a line, in a long matted well (but you might look in vain for
truth at the bottom of it) between the registrar’s red table and the silk gowns, with bills, cross-bills,
answers, rejoinders, injunctions, affidavits, issues, references to masters, masters’ reports, 45
mountains of costly nonsense, piled before them. Well may the court be dim, with wasting
candles here and there; well may the fog hang heavy in it, as if it would never get out; well may
the stained-glass windows lose their colour and admit no light of day into the place; well may the
uninitiated from the streets, who peep in through the glass panes in the door, be deterred from
entrance by its owlish aspect and by the drawl, languidly echoing to the roof from the padded 50
dais where the Lord High Chancellor looks into the lantern that has no light in it and where the
attendant wigs are all stuck in a fog-bank! This is the Court of Chancery, which has its decaying
houses and its blighted lands in every shire, which has its worn-out lunatic in every madhouse
and its dead in every churchyard, which has its ruined suitor with his slipshod heels and
threadbare dress borrowing and begging through the round of every man’s acquaintance, which 55
gives to monied might the means abundantly of wearying out the right, which so exhausts
finances, patience, courage, hope, so overthrows the brain and breaks the heart, that there is not
an honourable man among its practitioners who would not give—who does not often give—the
warning, “Suffer any wrong that can be done you rather than come here!”
*(40) goat-hair and horse-hair warded heads: wigs worn by members of the court
1. In context, “Implacable November weather” 3. “Gone into mourning” in line 6 refers to

[line 2] serves as A. snow-flakes
A. the major theme of the passage B. smoke
B. the introduction to the extinction imagery C. death of the sun
C. a contrast to the tone of the passage D. flakes of soot
D. the introduction to the controlling E. drizzle
metaphor of the passage
4. In the context of the passage, “death of the
E. personification of “Michaelmas Term”
sun” [line 6] can be seen as parallel to the
2. The juxtaposition of “Megalosaurus” [line 3] A. philandering of the Lord High Chancellor
with London town has as its purpose B. degradation of London
A. indicating a natural disaster C. indifference of the wealthy class
B. foreshadowing an outdated legal system D. blighted lands
C. reinforcing the animalistic nature of man E. corruption of justice
D. indicating the magnitude of London’s
poverty
E. revealing the onslaught of civil unrest

5. “For it has a haggard and unwilling look” 0. One could best summarize lines 52–59 with
1
[line 25] refers to which of the following statements?
A. the fog A. The court system is not just
B. the gas B. The court system needs to be revised
C. the shops C. The lawyers are corrupt
D. the husbandman and ploughboy D. The court system has the support of the
E. the sun attorneys
E. The courts exist only to help the poor
6. The purpose of lines 26–29 is to
A. provide the major shift in the subject 11. The second and last paragraphs are primarily
B. solidify the implacable nature of November developed through the use of
weather A. comparison and contrast
C. reemphasize the nature of the fog B. simple sentences
D. proceed from setting to theme C. parallel structure
E. foreshadow a religious conversion D. rhetorical questions
E. animal imagery
7. The attitude of the speaker in lines 26–29 can
best be described as 12. The organization of the passage moves from
A. self-serving platitude A. past to present
B. vitriolic indictment B. positive to negative
C. disconsolate resignation C. cause to effect
D. unfounded aspiration D. general to specific
E. pathetic desperation E. literal to figurative
8. Lines 37–41, beginning with “On such an 3. Within the passage, comparisons may be drawn
1
afternoon” and ending with “as players might,” about all of the following except
reinforce which of the following lines? A. actors and lawyers
A. 4–6 B. dinosaurs and the legal system
B. 13–15 C. fog and the court
C. 17–20 D. sinners and saints
D. 23–25 E. decay and justice
E. 30–32
4. The overall tone of the passage can best be
1
9. The imagery created in lines 46–52 serves to described as
A. emphasize the poverty of London A. remorseful and resigned
B. reinforce the crowded court condition B. outraged and exhortative
C. characterize the role of lawyers in the court C. scathing and bitter
D. reveal the author’s attitude toward his D. victimized and vengeful
subject E. dispassionate and objective
E. separate the exterior from the interior

The Writer
by Richard Wilbur
In her room at the prow of the house

Where light breaks, and the windows are tossed with linden,
My daughter is writing a story.
I pause in the stairwell, hearing

From her shut door a commotion of typewriter-keys 5
Like a chain hauled over a gunwale.
Young as she is, the stuff

Of her life is a great cargo, and some of it heavy:
I wish her a lucky passage.
But now it is she who pauses, 10

As if to reject my thought and its easy figure.
A stillness greatens, in which
The whole house seems to be thinking,

And then she is at it again with a bunched clamor
Of strokes, and again is silent. 15
I remember the dazed starling

Which was trapped in that very room, two years ago;
How we stole in, lifted a sash
And retreated, not to affright it;

And how for a helpless hour, through the crack in the door, 20
We watched this sleek, wild, dark
And iridescent creature

Batter against the brilliance, drop like a glove
To the hard floor, or the desk-top,
And wait then, humped and bloody, 25

For the wits to try it again; and how our spirits
Rose when, suddenly sure,
It lifted off from a chair-back,

Beating a smooth course for the right window
And clearing the sill of the world. 30
It is always a matter, my darling,

Of life or death, as I had forgotten. I wish
What I wished you before, but harder.

15. The last line of the poem “What I wished you 21. Stanzas 1–3 include all the following analogies
before, but harder” implies that except
A. the speaker loves his daughter more than at A. the house as a ship
the beginning of the poem B. the daughter’s room as a ship’s cabin
B. the speaker realizes the intensity of life’s C. life’s problems as a ship’s cargo
challenges D. writing as a safe harbor
C. the speaker cannot be as creative as she E. life as a sea journey
D. the speaker feels he has failed her
22. The father’s sensitivity is supported by line(s)
E. the daughter will never be a successful
A. 3
writer
B. 4
16. Which of the following is used to develop the C. 11
poem? D. 19
A. cause and effect E. 21–22
B. argument
3. Contrasts developed in the poem include all the
2
C. general to specific examples
following except
D. definition
A. stillness and clamor
E. parallel analogy
B. house and cargo
17. Line 13 is an example of C. bird and daughter
A. allusion D. life and/or death
B. alliteration E. light and dark
C. personification
24. According to the poem, the daughter, as young
D. simile
as she is, has
E. apostrophe
A. endured hardships
8. “A smooth course for the right window” in line
1 B. published her writing
29 parallels line(s) C. fought for her independence
A. 1 D. saved a starling
B. 5–6 E. left home and returned
C. 8
5. The poet alludes to all the following as part of
2
D. 9
the process of a creative life except
E. 11
A. “Batter against the brilliance”
9. The poem breaks after line
1 B. “drop like a glove to the hard floor”
A. 3 C. “clearing the sill of the world”
B. 6 D. “the wits to try it again”
C. 8 E. “Beating a smooth course for the right
D. 15 window”
E. 27
0. The final stanza serves all the following
2
purposes except
A. to restate the theme
B. to reemphasize the father’s love for his
daughter
C. to solidify the daughter’s character
D. to connect the two major sections of
the poem
E. to allow the father to be more sympathetic

Jane Eyre
by Charlotte Bronte
Miss Temple got up, took her hand and . . . returned to her own seat: as she resumed
it, I heard her sigh low. She was pensive a few minutes, then rousing herself, she
said cheerfully:—
“But you two are my visitors to-night; I must treat you as such.” She rang her bell.
“Barbara,” she said to the servant who answered it, “I have not yet had tea; bring 5
the tray, and place cups for these two young ladies.”
And a tray was soon brought. How pretty, to my eyes, did the china and bright
teapot look, placed on the little round table near the fire! How fragrant was the steam of the
beverage, and the scent of the toast! of which, however, I, to my dismay (for I was
beginning to be hungry), discerned only a very small portion: Miss Temple discerned it 10
too:—
“Barbara,” said she, “can you not bring a little more bread and butter? There is not
enough for three.”
Barbara went out: she returned soon:—
“Madam, Mrs. Harden says she has sent up the usual quantity.” 15
Mrs. Harden, be it observed, was the housekeeper: a woman after Mr.
Brocklehurst’s own heart, made up of equal parts of whalebone and iron.
“Oh, very well!” returned Miss Temple; “we must make it do, Barbara, I
suppose.” And as the girl withdrew, she added, smiling, “Fortunately, I have it in my
power to supply deficiencies for this once.” 20
Having invited Helen and me to approach the table, and placed before each of us a
cup of tea with one delicious but thin morsel of toast; she got up, unlocked a drawer, and
taking from it a parcel wrapped in paper, disclosed presently to our eyes a good-sized
seed-cake.
“I meant to give each of you some of this to take with you,” said she; “but as there 25
is so little toast, you must have it now,” and she proceeded to cut slices with a generous
hand.
We feasted that evening as on nectar and ambrosia; and not the least delight of the
entertainment was the smile of gratification with which our hostess regarded us, as we
satisfied our famished appetites on the delicate fare she liberally supplied. Tea over and the 30
tray removed, she again summoned us to the fire; we sat one on each side of her, and now a
conversation followed between her and Helen, which it was indeed a privilege to be
admitted to hear.
Miss Temple had always something of serenity in her air, of state in her mien, of
refined propriety in her language, which precluded deviation into the ardent, the excited, the 35
eager: something which chastened the pleasure of those who looked on her and listened to
her, by a controlling sense of awe; and such was my feeling now: but as to Helen Burns, I
was struck with wonder.
The refreshing meal, the brilliant fire, the presence and kindness of her beloved
instructress, or, perhaps, more than all these, something in her own unique mind, had 40
roused her powers within her. They woke, they kindled: first, they glowed in the bright tint
of her cheek, which till this hour I had never seen but pale and bloodless; then they shone in

the liquid lustre of her eyes, which had suddenly acquired a beauty more singular than that
of Miss Temple’s—a beauty neither of fine colour nor long eyelash, nor pencilled brow,
but of meaning, of movement, of radiance. Then her soul sat on her lips, and language 45
flowed, from what source I cannot tell: has a girl of fourteen a heart large enough, vigorous
enough to hold the swelling spring of pure, full, fervid eloquence? Such was the
characteristic of Helen’s discourse on that, to me, memorable evening; her spirit seemed
hastening to live within a very brief span as much as many live during a protracted
existence. 50
They conversed of things I had never heard of ! Of nations and times past; of
countries far away: of secrets of nature discovered or guessed at: they spoke of books: how
many they had read! What stores of knowledge they possessed! They seemed so
familiar with French names and French authors: but my amazement reached its climax
when Miss Temple asked Helen if she sometimes snatched a moment to recall the Latin her 55
father had taught her, and taking a book from a shelf, bade her read and construe a page of
“Virgil”; and Helen obeyed, my organ of Veneration expanding at every sounding line.
She had scarcely finished ere the bell announced bedtime: no delay could be admitted;
Miss Temple embraced us both, saying, as she drew us to her heart:—
“God bless you, my children!” 60
Well has Solomon said—“Better is a dinner of herbs where love is, than a stalled ox
and hatred therewith.”
26. From the passage, it can be concluded that 9. For the speaker, the most nourishing part of
2
Mrs. Harden is the evening was
A. in love with Mr. Brocklehurst A. the seed cake
B. generous with the girls B. the tea and toast
C. a confidante of Miss Temple’s C. the company of an adult
D. strong-willed and inflexible D. the conversation
E. Miss Temple’s superior E. the brilliant fire
27. Religious imagery in this passage is developed 0. The speaker is amazed by
3
by all the following except A. Miss Temple’s beauty
A. Miss Temple’s name B. the breadth of Helen’s knowledge
B. feasting on nectar and ambrosia C. Miss Temple’s generosity
C. the taking of tea and toast D. her own knowledge
D. Miss Temple’s benediction E. her envy of the attention Helen receives
E. being summoned to sit by the fire
31. “. . . her spirit seemed hastening to live within
28. The “smile of gratification with which our a very brief span as much as many live during
hostess regarded us” (line 29) indicates that a protracted existence” (lines 48–49) is an
Miss Temple derives pleasure from example of
A. having power over the girls A. circular reasoning
B. being a role model for the girls B. satire
C. keeping secrets C. foreshadowing
D. outsmarting the girls D. denouement
E. providing for the girls E. digression

32. The reader can infer from lines 45– 47 (“Then 36. The reader may infer all the following
her soul sat on her lips . . . eloquence”) that except that
A. Helen has traveled the world A. the evening has transformed Helen
B. Helen likes to show off intellectually B. the speaker is observant of and sensitive to
C. Miss Temple has been tutoring Helen human nature
D. the speaker is afraid of Helen C. the evening is in contrast to their daily lives
E. Helen is an instrument of divine D. Miss Temple will save the two children
inspiration E. love of learning is important to the speaker
3. The last sentence of the passage may be best
3 37. The description of Miss Temple in lines 34–38
interpreted to mean reveals her to be a woman of
A. It is better to be rich than poor A. religious fervor
B. Everything in moderation B. restraint and reservation
C. The greatest of all riches is love C. passionate beliefs
D. Denial of riches leads to love D. submissive inclinations
F. Riches lead to hatred E. dominating sensibilities
34. The pronoun “they” in lines 41–42 refers to 38. Based on the passage, all the following can be
A. her powers inferred about Jane’s character except that she is
B. her unique mind A. cognizant of her limitations
C. the meal and the fire B. a great observer
D. Helen and Miss Temple C. of an inquisitive nature
E. Helen’s eyes D. highly impressionable
E. religious
5. The tone developed in the passage is best
3
described as
A. amused indifference
B. subdued admiration
C. pedantic
D. reverent wonder
E. remorseful
The Pulley
by George Herbert
When God at first made man,
Having a glass of blessings standing by,
Let us, said He, pour on him all we can.
Let the world’s riches, which dispersed lie,
Contract into a span. 5
So Strength first made a way,

Then Beauty flowed, then Wisdom, Honor, Pleasure.
When almost all was out, God made a stay,
Perceiving that alone of all his treasure
Rest in the bottom lay. 10

For if I should, said He,

Bestow this jewel also on my creature,
He would adore my gifts instead of me,
And rest in Nature, not the God of Nature:
So both should losers be. 15
Yet let him keep the rest,

But keep them with repining restlessness.
Let him be rich and weary, that at least
If goodness lead him not, yet weariness
May toss him to my breast. 20
(Note: Poem reprinted in its original form.)
9. The “pulley” of the title refers to

3 44. The pun in this poem depends upon the
A. the balance between God and nature reading of which word?
B. the conflict between beauty and riches A. pour
C. the conflict between blessings and curses B. alone
D. God’s method of controlling mankind C. rest
E. the conflict between winners and losers D. losers
E. least
0. In line 9, “alone of all his treasure” refers to
4
A. wisdom 5. The dominant imagery concerns
4
B. honor A. wealth
C. pleasure B. goodness
D. strength C. God
E. rest D. nature
E. contracts
1. According to the first stanza, God is
4
A. totally generous 46. In line 12, “this jewel” refers to
B. suspicious of humankind A. wisdom
C. drunk with power B. my creature
D. planning to test humanity C. glass of blessings
E. forgiving of human weakness D. rest
E. nature
42. In line 16, “Yet let him keep the rest” refers to
A. all the gifts, except “rest” 47. The first and last lines of each stanza are
B. the Sabbath written in
C. nature A. iambic pentameter
D. a glass of blessings B. iambic trimeter
E. “this jewel” C. trochaic trimeter
D. spondaic tetrameter
3. God will control humans by keeping them
4
E. dactylic trimeter
A. away from evil
B. poor 48. The conflict of the poem is best expressed
C. alone in line
D. weak A. 3
E. fatigued B. 8
C. 13
D. 15
E. 17

9. For George Herbert, the God of all mankind is

4 1. We can infer that the speaker is
5
A. all-forgiving and generous A. heretical
B. disappointed and jealous B. non-materialistic
C. judgmental and punitive C. scientific
D. regretful and plaintive D. skeptical
E. speculative and manipulative E. materialistic
0. The organization of the first two stanzas
5
depends upon
A. contrast and comparison
B. paradox
C. chronological order
D. specific to general
E. description
END OF SECTION I

Section II
Question 1
In a well-organized essay, discuss how Alice Walker conveys the complex meaning of “The Flowers” and how
she prepares the reader for the ending of this short story. Consider at least two elements of the writer’s craft
such as imagery, symbol, setting, narrative pace, diction, and style.
The Flowers
by Alice Walker
It seemed to Myop as she skipped lightly from her house to pigpen to smokehouse
that the days had never been as beautiful as these. The air held a keenness that made her
nose twitch. The harvesting of the corn and cotton, peanuts and squash, made each day a
golden surprise that caused excited little tremors to run up her jaws.
Myop carried a short, knobby stick. She struck out at random at chickens she liked, 5
and worked out the beat of a song on the fence around the pigpen. She felt light and good
in the warm sun. She was ten, and nothing existed for her but her song, the stick clutched
in her dark brown hand, and the tat-de-ta-ta-ta of accompaniment.
Turning her back on the rusty boards of her family’s sharecropper cabin, Myop
walked along the fence till it ran into the stream made by the spring. Around the spring, 10
where the family got drinking water, silver ferns and wildflowers grew. Along the shallow
banks pigs rooted. Myop watched the tiny white bubbles disrupt the thin black scale of soil
and the water that silently rose and slid away down the stream.
She had explored the woods behind the house many times. Often, in late autumn, her
mother took her to gather nuts among the fallen leaves. Today she made her own path, 15
bouncing this way and that way, vaguely keeping an eye out for snakes. She found, in
addition to various common but pretty ferns and leaves, an armful of strange blue flowers with
velvety ridges and a sweetsuds bush full of the brown, fragrant buds.
By twelve o’clock, her arms laden with sprigs of her findings, she was a mile or more
from home. She had often been as far before, but the strangeness of the land made it not as 20
pleasant as her usual haunts. It seemed gloomy in the little cove in which she found herself.
The air was damp, the silence close and deep.
Myop began to circle back to the house, back to the peacefulness of the morning.
It was then she stepped smack into his eyes. Her heel became lodged in the broken
ridge between brow and nose, and she reached down quickly, unafraid, to free herself. It was 25
only when she saw his naked grin that she gave a little yelp of surprise. He had been a tall
man. From feet to neck covered a long space. His head lay beside him. When she pushed
back the leaves and layers of earth and debris Myop saw that he’d had large white teeth, all
of them cracked or broken, long fingers, and very big bones. All his clothes had rotted away
except some threads of blue denim from his overalls. The buckles of the overalls had turned 30
green.
Myop gazed around the spot with interest. Very near where she’d stepped into the
head was a wild pink rose. As she picked it to add to her bundle she noticed a raised mound, a
ring, around the rose’s root. It was the rotted remains of a noose, a bit of shredding plow-line,

now blending benignly into the soil. Around the overhanging limb of a great spreading 35
oak clung another piece, frayed, rotted, bleached, and frazzled—barely there—but spinning
restlessly in the breeze. Myop laid down her flowers.
And the summer was over.
Question 2
In a well-organized essay, discuss the distinguishing differences between the complex connotations of the two
main words in the title of the poem “The Naked and the Nude” as they are developed by Robert Graves. Refer
to such literary techniques as tone, style, poetic devices, structure, and imagery.
The Naked and the Nude

by Robert Graves
For me, the naked and the nude
(By lexicographers construed
As synonyms that should express
The same deficiency of dress
Or shelter) stand as wide apart 5
As love from lies, or truth from art.
Lovers without reproach will gaze

On bodies naked and ablaze;
The Hippocratic eye will see
In nakedness, anatomy; 10
And naked shines the Goddess when
She mounts her lion among men.
The nude are bold; the nude are sly

To hold each treasonable eye.
While draping by a showman’s trick 15
Their dishabille in rhetoric,
They grin a mock-religious grin
Of scorn at those of naked skin.
The naked, therefore, who compete

Against the nude may know defeat; 20
Yet when they both together tread
The briary pastures of the dead,
By Gorgons with long whips pursued,
How naked go the sometime nude!

Question 3
From your study of full-length works, choose one in which a character or group intentionally dissembles in
order to advance a specific agenda. Be sure to discuss the complex nature of the deceit or misrepresentation and
how it contributes to the development of that character or the meaning of the work. You may choose a work
from the list below or another novel or play of literary merit.
The Stranger Hamlet

Oedipus Twelfth Night
Jane Eyre King Lear
Desire Under the Elms The Great Gatsby
Heart of Darkness The Importance of Being Earnest
The Secret Sharer Hedda Gabler
Beloved A Doll’s House
A Streetcar Named Desire Catch-22
Major Barbara The Kite Runner
END OF SECTION II

ANSWERS TO MULTIPLE-CHOICE QUESTIONS

Answer Key
1. D 18. D 35. D
2. B 19. D 36. D
3. A 20. C 37. B
4. E 21. D 38. E
5. B 22. D 39. D
6. A 23. B 40. E
7. B 24. A 41. A
8. E 25. B 42. A
9. D 26. D 43. E
10. A 27. E 44. C
11. C 28. E 45. A
12. E 29. D 46. D
13. D 30. B 47. B
14. C 31. C 48. C
15. B 32. E 49. E
16. E 33. C 50. C
17. C 34. A 51. B


1. D. All of the weather images illustrate and resignation in the author. He rails against the
reinforce the conditions that exist within the system (A). While it is obvious the writer is
legal system. outraged, he does not call for action on the
2. B. The image of an extinct, gigantic, part of the reader (B). We may infer that he
lumbering creature in the midst of London is as has been victimized, but there is no evidence
out of place as the efficacy of the court system of that in this excerpt (D). His sarcasm,
that Dickens describes in the passage. diction, and imagery reveal a subjective point
3. A. This is another basic reference question. of view (E).
The image is one of smoke-flakes wearing black 15. B. The entire poem hinges on the speaker’s
for mourning. epiphany about life and creativity, which
4. E. The key here is “In the context of the occurs in the last stanza. It is this realization
passage.” The death of the sun symbolizes the that points to choice B. Choice A is silly and
end of enlightenment, warmth, hope, and should be eliminated immediately. There is
nurturing—all of which are characteristic of the no discussion of the daughter’s talent, which
High Court of Chancery. eliminates choice E. Although C and D sound
5. B. This is a basic antecedent question. You plausible and may even be insights raised by the
need to trace “it” back to “gas.” reader, once again there is no concrete evidence
6. A. The author takes the two major images and in the poem to support these choices.
combines them (fog:court). 16. E. The careful reader should recognize that
7. B. The deliberate repetition and diction (for the poem introduces a new idea in lines 16–30,
example: “leaden-headed,” “obstruction”) is and he or she should question the reason
evidence of the bitter accusation. for this. It is obvious that the episode of the
8. E. “Mud,” “mire,” “groping,” and starling is meant to parallel the intensity of the
“floundering” are echoed by “endless cause,” creative process the daughter is experiencing.
“tripping,” “slippery,” and “knee-deep.” 17. C. The house is personified as “thinking.”
9. D. Phrases such as “court be dim,” “wasting This is a question that is really a freebie if
candles,” “admit no light of day,” “lantern that you’ve done your preparation. The answer
has no light” all reveal the author’s attitude depends on your knowledge of simple terms
toward the court. and your ability to identify examples of them in
0. A. The listing of the effects of the court on the
1 a work.
people specifically indicate how justice is not 8. D. A question of this type demands that you
1
being served. There is no direct call for revision actually refer to the passage. (You might try
of the court in this passage. highlighting or underlining to emphasize line
11. C. In paragraph 2 the repetition of “fog,” and 29 and the various choices. This will prevent
the repetition of “On such,” “Well may,” and you from losing your place or focus.) Use the
“which has” in the last paragraph, all serve to process of elimination until you find an “echo”
tightly structure both the description and the word or phrase. In line 9, “passage” parallels
indictment presented in the excerpt. “course” and points to choice D. It is a good
12. E. The excerpt begins with a specific idea to follow the choices in order for clarity
description of London in November and and continuity because each rereading may give
progresses to a symbolic depiction of the Court you help with another question.
of Chancery. 1 9. D. Question 2 may help you with this answer.
3. D. Although there is an allusion to the
1 Skim the poem from line 1 until you strike a
court being a sinner, there is no reference to new idea—the dazed bird. The answer has to
redemption anywhere in the passage. be D. A, B, and C all describe the daughter and
4. C. The previous questions should have
1 are on topic, while line 27 refers to the previous
pointed you toward this answer. There is no idea, in this case, the starling introduced earlier.

0. C. The perceptive reader will understand that

2 27. E. Temple, feasting, food of the gods,
the stanza is not about the daughter at all, and benediction can all imply religious
whereas each of the other ideas is valid and can connotations. Tea and toast can be a direct
be supported in the context of the stanza. allusion to taking communion. Being asked
21. D. The use of nautical terms dominates the to “come sit by the fire” is simply a request,
first section of the poem, establishing the nothing more.
concept of life as a sea journey or passage. The 28. E. “Gratification” involves thankfulness. And,
words, “prow” (line 1), “gunwale” (line 6), and in this case, Miss Temple is pleased that she is
“great cargo” (line 8) all support choices A, B, able to give the girls some special foods during
C, and E. The only image not stated concerns their visit.
writing as a safe harbor. 9. D. This is a metaphorical construction. With
2
22. D. This is essentially a reading question and it, Jane lets the reader know that having the
one you should find easy to answer. Start with opportunity to be part of engaging and exciting
the first choice and work your way through conversation was like food for her mind and
each of the others. Highlight or underline soul.
lines, look for concrete evidence, and eliminate 0. B. Lines 39–59 of this excerpt are devoted to
3
unsupported choices. Line 19 indicates the Helen’s mind, knowledge, and eloquence.
sensitivity shown by the father’s consideration 31. C. This is one of those questions that assumes
for the trapped bird. the student is familiar with the definitions of
3. B. This type of question is more complicated
2 specific terms. “Seemed hastening” is almost a
than the others because there are many steps literal flag waving in front of the reader’s eyes
involved in finding the answer. Don’t just rely signaling that something will happen in the
on memory. Actually circle or highlight the future.
contrasts as you skim the poem. You may have 32. E. Helen’s “soul sitting on her lips,” her
a quick flash. If so, look immediately to prove “secret sources of language,” and her “purity
it. If you can’t, you have your answer. In this and radiance” all relate to the realm of the
case, B. To illustrate the process, here are the divine.
images that prove that the other choices are 3 3. C. Herbs are simple and of small quantity. An
contained in the poem. ox, on the other hand, is overwhelmingly large
A. Line 5: commotion; line 12: stillness and overabundant. Love is better than hate.
C. Lines 22–23: the implied analogy of child This analogy is straightforward and obvious.
and bird 34. A. This is the frequently used antecedent
D. Line 32: life and death question. All you have to do is substitute each
E. Line 2: light breaks; line 21: dark of the choices for the word “they,” and it will
24. A. This simple reading question is a giveaway. be obvious that your only viable choice is “her
Stanza three tells the reader that “the stuff of powers.”
her life is a great cargo, and some of it heavy.” 3 5. D. If you read the passage carefully, Jane’s
You should be able to interpret the metaphor as wonder and deference are apparent. Look at
life’s difficulties. lines 39–50 to see her sense of awe. Look at
2 5. B. All the choices, with the exception of B, line 38. It clearly states Jane’s wonder at Helen.
reflect the need to persist in order to achieve 36. D. There is nothing in this passage that
a goal—freedom and creation. Only B is indicates either of the two girls needs to be
grounded to the hard floor. saved.
26. D. The answer is obvious if you carefully read 37. B. “Serenity,” “state in her mien,” “refined
lines 15–17. A heart made up of whalebones propriety” in lines 34–35 are synonymous
and iron is synonymous with strong-willed and with one who is restrained. The remainder
inflexible. of the lines illustrates and supports this
characterization.

38. E. Although there is considerable religious antecedent. This procedure will lead you to
diction and imagery in the passage, none of it lines 9 and 10 and choice D.
directly relates to Jane’s character and her being 47. B. You should notice immediately that the
a religious person. first and last lines of each stanza are shorter
9. D. A pulley is a device used to bring
3 than the other lines. It is a good idea to briefly
something to a particular destination. In this check to see if the form is iambic (˘ ´) because
case, man to God. the iambic foot is the most common one in the
0. E. If you recast lines 9 and 10 into a sentence,
4 English language. Count the number of iambs,
you can easily see that “treasure” is the and you will come up with three (tri). (Note: If
antecedent of “Rest.” This is an example of meter presents a problem to you, this may be a
poetic inversion. question you should choose to skip.)
1. A. Lines 3 and 4 are the indicators. Look
4 48. C. God is wary of man’s potential goodness
carefully at what God is doing—giving all the and loyalty and devises another method of
world’s riches away. ensuring mankind’s adoration and reliance on
42. A. Use the process of substitution to help you Him.
find the answer. If you place each of the choices 9. E. A, B, C, and D are all partially
4
in place of “Rest,” you will see that the only supported in the poem. But, only E has both
appropriate choice is A. characteristics evident in the poem’s context.
3. E. Lines 17 and 18 clearly indicate that God
4 5 0. C. The words “when,” “first,” “then,” and
intends for man to be without rest. “when” are all indicative of the chronological
44. C. The pun depends on your knowing that a pattern of the first two stanzas.
play on words and their meanings is essential 5 1. B. The text of the poem, especially in the
to the understanding of this poem. Choice C choice of blessings the speaker presents,
refers to both renewal and the remains of the indicates that he is interested in the world of
blessings. the spirit rather than the world of material
5. A. Each stanza presents an image to support
4 possessions and investigations. The diction
choice A. “Riches” (line 4), “treasure” (line 9), proves he considers these nonmaterial concepts
“jewel” (line 12), and “rich” (line 18) sustain to be the real “riches,” “treasure,” “jewel,” and
the concept of wealth. “gifts.”
46. D. This is another question that benefits from
using the process of substitution to locate an
Rating the Essay Section

Rubrics for “The Flowers” by Alice Walker
A high-range score (8, 9):
• Indicates complete understanding and support of the prompt.
• Uses appropriate literary techniques to illustrate how Walker prepares the reader for the
KEY IDEA
ending of the story.
• Thoroughly explores the contrasts inherent in the story.
• Fully presents Myop’s character.
• Recognizes the underlying theme related to prejudice and innocence.
• Responds insightfully to image, diction, and setting.
• Presents suitable and unique interpretations of the text.
• Demonstrates a mature, sophisticated writing style.

A midrange score (5, 6, 7):

• Utilizes appropriate devices in the analysis of Walker’s preparation for the surprise ending.
• Adequately supports the thesis.
• Uses obvious references and details.
• May miss the subtleties of the story.
• Inferences are based on an acceptable reading of the text.
• May exhibit a few errors in syntax and/or diction.

Student Essay A
“. . . the days had never been as beautiful as these . . . each day a golden
surprise.” Surprise is the element Alice Walker presents in her story “The Flowers.”
It is at the heart of the meaning of this story which is driven forward by imagery,
setting, and diction.
In the beginning of the story, Walker utilizes diction that creates an 5
atmosphere of euphoric childhood innocence. Myop, the main character, “skipped
lightly.” Walker describes the harvests, which evince “excited little tremors” in
Myop as she anticipates the new day.
This jocund diction continues into the second paragraph. Specifically,
Myop feels “light and good” in the heat of the warm sun. In addition, ten year 10
old Myop creates her own world in which nothing exists “but her song.” In line 8,
the use of onomatopaeia, “tat-de-ta-ta-ta” reinforces the idea of a happy, carefree
youth.
Paragraph three, however, marks a small yet significant shift in the
passage. Walker begins the paragraph with “Turning her back on the rusty 15
boards of her family’s sharecropper cabin, Myop . . . ” Myop’s world is not behind
her, but moves forward to the familiar woods.
As the story progresses, there is a significant shift in paragraphs four
and five. Walker begins to prepare the reader for her profound conclusion. While
Myop has often explored the woods behind the house with her mother, today she 20
sets out alone and “made her own path.” As she walks through the woods, she
cautiously keeps an eye out for snakes. The solitude of her journey, and the
possibility of danger, builds suspense and prepares the reader for the dark
surprise of the ending.
The diction of paragraphs four and five also contributes to the sudden 25
shift in the passage. While the diction in the beginning was blithe, describing
“beautiful,” the language in paragraph five is negative, foreshadowing the
conclusion. Specifically, Myop is disoriented by the, “strangeness of the land.”

It was “not as pleasant” as her usual expeditions. Furthermore, words such as

“gloomy” and “damp” reiterate the dark setting and prepare the reader for the 30
grotesque conclusion of the story.
Paragraph six, which is only one sentence long, marks a brief transition
into the ending of the passage. Myop wants to return to her house, to the
“peacefulness of the morning.” But, while she was able to turn her back on the
reality of her poverty, she will not be able to ignore the next truth that hits her. 35
“Stepping smack into his eyes,” Myop encounters death, but is unafraid
as she “frees herself.” She is filled with innocent curiosity and gazes “around
the spot with interest.” Ironically, as she picks her “wild pink rose,” a symbol of
beauty, she spots the noose and has her epiphany.
The transition in image, setting, and diction all propel Walker’s theme— 40
the coming of age. In the last paragraph Myop picks up the flowers and places
her bouquet in front of the lynched man. It is as if she is at a funeral, as if she
has sobered from her carefree state to one of realization. For, in the last line, the
images of the beginning are finally crushed. Myop can no longer return to the
world of flower-gathering or sun-lit skipping. For Myop, the “summer is over.” 45
This is a high-ranking essay for the following reasons:

• Indicates complete understanding of the prompt (lines 3–4).
KEY IDEA • Cites appropriate details to support the thesis:
• Imagery (lines 15, 25–30, 36)
• Diction (lines 5–6, 10, 30)
• Setting (lines 1, 15–16)
• Thoroughly explores contrasts (lines 12, 16–17, 45).
• Presents unique insights into the underlying theme (lines 16–17, 22–23, 41–43).
• Adheres well to topic; exhibits transitions and connective tissue.
• Has a definite, clear progression of thought and a strong writer’s voice.
This high-ranking essay presents a solid, mature, and insightful discussion and analysis
of Myop’s “epiphany” and how Walker prepares the reader for it.
Student Essay B
In the short story “The Flowers” by Alice Walker, the author conveys the
meaning of the story and prepares the reader for the ending by using various
literary techniques. Some of these are symbol, narrative pace, and style.
The narrative pace starts out as slow and relaxed as Myop explores the land
around her family’s sharecropper cabin. Every little detail is described creating 5
an image of the blissful summer day. Myop’s exuberance is portrayed through
diction such as “skipped lightly,” “she felt light and good,” “bouncing,” and “she
was singing.” Her innocence is shown by the way she is able to block out
everything but her happiness and her song. The colors used in the beginning of
the story further form the image that is being set up because they are earthy yet 10
shiny colors such as “golden,” “silver,” and “dark brown.”

The fifth paragraph is a transition of narrative pace. The diction and tone
change from peaceful and relaxed to tense and dark. Diction such as “strangeness”
and “gloomy” take over. When describing the new atmosphere, Walker uses syntax
like “the air was damp, the silence close and deep.” 15
From here, the story continues to darken and reaches a climax when Myop
steps on a dead man’s face. She then discovers his body—in parts and decaying.
Walker’s use of colors suddenly changes too. Now, “blue,” “green,” and “wild pink”
are used. Although these colors can be seen as positive, in this story, they represent
“rotting.” Myop finds the noose as she picks up a flower. Such irony. 20
The last paragraph/sentence is brief and compact. It simply reads, “And the
summer was over.” The summer can be seen as a symbol of Myop’s innocence. With
the end of her summer, when she lays down her flowers, her innocence is gone forever.
She can no longer exist “for nothing but her song.” She had seen death in the midst
of her paradise. 25
This is a midrange essay (5, 6, 7) for the following reasons:

• Makes adequate, expedient presentation of the details in developing the thesis.
• Illustrates an understanding of the selected literary devices used in the story, but does not
fully link or expand them with regard to the thesis (lines 9–10, 14–15).
• Has unsupported interpretation in lines 18–19.
• In many places, the syntax resembles a list because ideas are not fully developed (lines
16–20).
This midrange essay addresses the prompt and provides details to support the thesis.
While the writer obviously understood both the story and the author’s process, the subtle-
ties are not fully explored and the syntax lacks fluidity.
Rubrics for “The Naked and the Nude” by Robert Graves

• Indicates complete understanding of the requirements for discussing the differences in
KEY IDEA connotation between “naked” and “nude.”
• Recognizes and identifies the many differences between the two words.
• Utilizes appropriate literary techniques to present a coherent distinction between the two
words.
• Responds to the irony in the final stanza.
• Perceives Graves’s tone and preference for one of the words.
• Interprets allusions, images, symbols, etc.
• Uses smooth transitions and clear connective tissue.
• Demonstrates a mature writing style.
• Refers accurately to the thesis involving the contrast in meanings between two words.
• Adequately supports the thesis with appropriate details.
• Is less adept at interpreting the poem.
• May not be sensitive to the complex allusions and images or vocabulary.


Student Essay A
Many people tend to use the words “naked” and “nude” interchangeably.
Yet Robert Graves objects to this misconception in his poem “The Naked and the
Nude.” Although both words mean “without clothes,” Graves interprets them
differently with regard to their connotations. He points out that “naked” refers
to the body itself, whereas, “nude” refers to a personality or state of mind. Through 5
his use of various allusions and imagery, Graves contrasts the two synonyms.
Graves dedicates one stanza apiece to explain his perception of each word.
When describing the “naked,” Graves uses several classical allusions. He points
out that “the Hippocratic eye will see in nakedness, anatomy.” Likewise, “naked
shines the Goddess when she mounts her lion among men.” It’s clear that 10
nakedness only refers to the naked body. However, Graves uses allusions to
deception and trickery to explain his concept of the nude. He says, “the nude are
bold, the nude are sly . . . they grin a mock-religious grin of scorn at those of naked
skin.” The concept of nude seems to be more of a cunning state of mind—“being
naked with attitude.” 15
The poet uses these details to create a certain imagery that clearly explains
this discrepancy. His use of classical allusions creates images of peace, beauty, and
spirituality which imply the inherent beauty of the human body on a physical level.
Yet, the imagery created by the second set of details does not deal with the physical
body. Graves explains that the nude have a cunning state of mind, “while draping 20
by a showman’s trick their dishabille in rhetoric.”
The contrast described in the poem, body versus mind, is reinforced when
Graves tells us that the naked are physical bodies that are admired by “Lovers without
reproach” and men of medicine. The nude, however, are more than that; they “are sly”
and “hold each treasonable eye.” The writer concludes that the naked, therefore, who 25
compete against the nude may know defeat because the nude are more complex and
cynical.
Graves’s final stanza transfers the vulnerability of the naked to the nude.
When treading “the briary patches of the dead,” the nude will not have artifice to
protect them from the Gorgons’ whips—they will be the naked as well as the nude. 30

• Shows complete understanding of the prompt.
KEY IDEA • Immediately presents an accurate distinction between “naked” and “nude” (lines 4–5).
• Utilizes allusion and imagery correctly and links examples to meaning (lines 8–11,
12–15, 17–18).
• Reinforces the contrast throughout the essay (lines 16, 22, 29–30).
• Indicates perceptive, subtle analysis (lines 20–21, 29).
• Is well organized.
• Demonstrates a mature writing style.

This high-ranking essay is indicative of a confident writer and thinker. The paper is well
focused, and it exhibits the writer’s facility with literary terminology and analysis.
Student Essay B
The poem “The Naked and the Nude” written by Robert Graves explicitly
shows how connotations can change the meaning of a thought or statement through
images and other poetic devices. Those who are “naked” and those who are “nude” are
not, according to the poem, in the same state of undress.
The speaker of the poem describes the differences between the naked and the 5
nude using a variety of images and descriptions. He feels that one who is naked is
hiding nothing while one who is nude is a picture of deception and art. The images
of “Lovers without reproach will gaze on bodies naked and ablaze” depicts the honesty
and truth that is given with love. Also the “Hippocratic eye will see in nakedness,
anatomy.” When this “eye” sees a naked person it is seeing what is really there and 10
not what could be held in the deception of a person who is nude.
Although the naked are personified as “love” and “truth,” when they “compete
against the nude they may know defeat.” This statement shows how those who are
naked can sometimes be deceived and beaten by those who are artful liars. However,
when it comes to the life after death, those who have been nude will also be naked, 15
meaning that no matter what they were in life, when they die there will be no hiding
behind the art of the body. Also, the facade that was built in life to hide from the
truth will not work when it comes to the end.
Tone is another device that is used to convey the different connotations of
naked and nude. When those who are naked are being discussed, the tone is not only 20
positive, it presents an image of those who are happy with their position in life. For
example, nakedness is linked with words such as “love,” “truth,” “shines,” and
“Goddess.” However, when the speaker directs his attention on the nude, the tone is
just the opposite. Nude is associated with “scorn,” “showman,” and “mock-religious.”
The speaker’s tone in the descriptions of the two states of undress presents a clear 25
difference in the connotations of the two words in the title of the poem.
The style and structure of the poem also contribute to conveying the two
different connotations of naked and nude. The simple rhyme scheme shows how
simplistic those who are naked can be as opposed to the deception and intricacies of
those who are nude. The four stanza’s each have a theme that it conveys. The first stanza 30
exhibits the differences between the naked and the nude. The second stanza has the theme
of the freedom of the naked, while the third shows the deception of the nude. The fourth
and final stanza reinforces the theme that everyone will be naked after death.
This is a midrange essay for the following reasons:

• Accurately addresses the prompt.
• Understands deception and artifice (lines 6–7).
• Refers to suitable textual material to support the thesis (lines 8–9, 22–24).

• Demonstrates an ability to handle literary analysis (19–25, 27–29).

• Stays on topic.
• Has several awkward sentences and punctuation and agreement errors (lines 10–11,
13–29, and 30).
• Uses transitions and connective tissue.
It’s obvious that the writer of this mid-range essay understands both the prompt and
process of literary analysis. The second half of the paper is not as strong as the first. Perhaps,
this writer was feeling the time pressure.
Rubrics for the Free-Response Essay

• Effectively and coherently addresses the intentional dissembling of a character or group.
KEY IDEA • Effectively and coherently analyzes how the dissembling contributes to character develop-
ment.
• Effectively and coherently discusses how the dissembling contributes to the meaning of
the work.
• Chooses an appropriate novel or play.
• Uses references insightfully to support and illustrate the dissembling.
• Thoroughly discusses the character’s nature and its relation to the theme.
• Strongly adheres to topic.
• Substantiates development of the thesis.
• Exhibits mature writing style.
• Identifies the intentional dissembling of a character or group.
• Chooses an acceptable novel or play.
• Adequately addresses the prompt with respect to intentional dissembling and how it
contributes to both character development and meaning.
• Uses obvious references to support the prompt.
• Discussion of the character’s nature and its relation to the theme is less developed.
• Adheres to topic, but may have lapses in coherence.
• Discussion of the theme is less developed.
• Writing style is acceptable but may show lapses in syntax and/or diction.

Student Essay A
“To thine own self be true,” advises Polonius in Shakespeare’s Hamlet.
Too bad he doesn’t follow his own counsel when he continually dissembles
to advance his own position in Claudius’s court. This deceitfulness is the cause
of the destruction of the lives of his children, himself, and ultimately the kingdom.
His seemingly minor deceits reinforce the theme of betrayal and deception in the 5
play.
Our first impression of Polonius is a positive one when we see him supporting
Laertes’s desire to return to his studies in Paris. However, his fatherly advice, “to not be

false to any man” is ironic because he has already hired Reynaldo to spy on his son.
He tells Reynaldo to use a “bait of falsehood” to see if Laertes’s friends will be faithful 10
and true. Polonius plans for this to include starting rumors and even malicious lies.
Later in the play, Shakespeare has Rosencrantz and Guildenstern play out a parallel
scene with Hamlet.
As with his son, Polonius seems to be genuinely concerned with the well-being
of his daughter Ophelia. He tells her to reject the “love” letters and tokens from Hamlet 15
because he fears Hamlet only wants to take advantage of her and will not and cannot
marry her. But soon we see the other side of this paternal scheme when Polonius
willingly uses his daughter’s emotional connections to Hamlet for his own purpose of
furthering his service to Claudius. Hoping to prove that Hamlet’s madness is caused
by love sickness, he permits himself to advance his own agenda even though he has to 20
know that it will cause pain and distress for both Ophelia and Hamlet.
Inevitably, Polonius’s dissembling leads to his own destruction. Ever the
deceitful sycophant, he suggests to Claudius that he hide behind the arras in Gertrude’s
chamber in order to spy on both her and Hamlet. While eavesdropping, he cries out
when he believes that Hamlet is attacking the Queen. Believing the voice to be that of 25
Claudius, Hamlet thrusts his sword through the curtain, fatally wounding Polonius.
Here, the irony lies in his death resulting from an attempt to protect Gertrude.
It is this act that is the catalyst for the subsequent tragic events: Ophelia’s
madness and death, Laertes’s desire for revenge, and Hamlet’s fleeing Denmark. The
final tragedies of the play—the deaths of Ophelia, Laertes, Gertrude, Claudius, and 30
Hamlet—are all the results of further dissembling which is foreshadowed by
Polonius’s deceit.
Although Polonius dies in Act III, he sets the foundation for the theme of deceit
and murder throughout the remainder of the drama. Truly, something was rotten in
the state of Denmark, and it was Polonius. 35
This is a high-range essay for the following reasons:

• Demonstrates a clear and focused understanding of the prompt and its demands.
KEY IDEA • Exhibits solid evidence of the writer’s knowledge of the chosen work.
• Demonstrates the ability to garner insights from the work.
• Uses appropriate illustrations and details (lines 8–9, paragraphs 3 and 4).
• Uses strong connective tissue.
• Demonstrates thorough development of ideas that are linked to the meaning of the work
(lines 3–6, 11–13, 19–21).
• Strongly adheres to topic and organization.
• Uses mature vocabulary and syntax (lines 22–23, 28).
This high-range essay is strong because of its clear voice and strong organization. The
introductory paragraph establishes the premise, which is fully supported in the body para-
graphs. Rather than a summary, the concluding paragraph makes an insightful final com-
ment connecting the topic and student interpretation.

Student Essay B
Often, in literature, there is a gap between the appearance of a situation
and the meaning of the truth behind it. In Shakespeare’s Hamlet, the protagonist
assumes the antic disposition as a means of investigating the veracity of the
ghost’s admonition, “The serpent that did sting thy father’s life, now wears his
crown.” In addition to contributing to the psychological development of Hamlet’s 5
character, this deceit augments many of the important themes in the play. In a
work whose main topic is the search for truth, Hamlet’s misrepresentation acts as
a warning to sift through the surface appearance of things to discover purpose in
this world.
Throughout the play, nothing is really as it seems. Hamlet’s feigned 10
madness is perhaps the most egregious example of this pattern. The melancholy
Dane becomes a different man behind the mask of insanity. He is free to taunt
Polonius regarding his lack of intelligence, or to scold his mother for her sexual
improprieties, or to chastise Ophelia for her attempt to trick him. He is free to
express himself without the fear of being held responsible for his insolence. This 15
is a psychological coping method for Hamlet to deal with the trauma of a
father’s death and a mother’s betrayal. Hamlet represses his anger and is paralyzed
by it. The course of the play is a struggle for Hamlet to overcome his repression and
to deal with the problems before him. Pretending to be mad is symbolic of this inner
struggle and Hamlet’s shield from the world. 20
Many of the major themes in Hamlet are also embodied in Hamlet’s
misrepresentation. The pervading irony in the play is that the “madman” is really
thinking rationally. He sees what others do not and recognizes that his father was
killed at Claudius’s hands. Hamlet is a man who can and does make plans to seek
the truth, and he carries these plans out. Another major theme is that of appearance 25
versus reality. Connected to and with Hamlet’s situation is a king who is a murderer,
a mystery involving a ghost, a play within a play, a royal request which will turn into
an invasion of Denmark, spying for proof of madness, fatherly advice to his children,
and friends who are enemies. Each of these separately and all of them together
enhance this theme of the play. 30
Hamlet is a search for truth. Through the protagonist’s discovery of self and the
revelation of Claudius’s guilt, he embodies everyman’s striving for understanding.
Dissembling as a madman, Hamlet is able to work toward his goal of gaining authentic
knowledge of past events and future battles.
This is a solid midrange essay (5, 6, 7) for the following reasons:

• Writer has an obvious voice that engages the reader.
• Uses strong vocabulary.
• Decisively identifies theme and character.
• References are appropriate.

• Uses parallel structure well.

• Indicates cause and effect with supporting details.
• Uses inferences rather than plot.
• Good use of connective tissue.
Here is a paper that shows great promise and strength in the first half, but it loses
continuity and lacks development in the second half. It seems that the writer has run out
of time and is anxious to complete the essay. This student is a real thinker, but is trapped
by time constraints.

PRACTICE EXAM 2
ANSWER SHEET FOR MULTIPLE-CHOICE QUESTIONS
1.
— 20.
— 39.
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2.
— 21.
— 40.
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3.
— 22.
— 41.
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4.
— 23.
— 42.
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5.
— 24.
— 43.
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6.
— 25.
— 44.
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7.
— 26.
— 45.
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8.
— 27.
— 46.
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9.
— 28.
— 47.
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10.
— 29.
— 48.
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11.
— 30.
— 49.
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12.
— 31.
— 50.
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13.
— 32.
— 51.
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14.
— 33.
— 52.
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15.
— 34.
— 53.
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16.
— 35.
— 54.
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17.
— 36.
— 55.
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18.
— 37.
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19.
— 38.
—
❮ 183

I did did not complete this part of the test in the allotted 1 hour.
I had correct answers. I had incorrect answers. I left blank.
of questions:

PRACTICE EXAM 2
ADVANCED PLACEMENT ENGLISH LITERATURE
Section I
Total time —1 hour
Carefully read the following passages and answer the questions that follow.
Questions 1–12 are based on the following passage from William Shakespeare’s Richard II.
Act 5—Scene 5 Pomfret Castle

King Richard II:
I have been studying how I may compare
This prison where I live unto the world:
And for because the world is populous
And here is not a creature but myself,
I cannot do it; yet I’ll hammer it out. 5
My brain I’ll prove the female to my soul,
My soul the father; and these two beget
A generation of still-breeding thoughts,
And these same thoughts people this little world,
In humours like the people of this world, 10
For no thought is contented. The better sort,
As thoughts of things divine, are intermix’d
With scruples and do set the word itself
Against the word:
As thus, ‘Come, little ones,’ and then again, 15
‘It is as hard to come as for a camel
To thread the postern of a small needle’s eye.’
Thoughts tending to ambition, they do plot
Unlikely wonders; how these vain weak nails
May tear a passage through the flinty ribs 20
Of this hard world, my ragged prison walls,
And, for they cannot, die in their own pride.
Thoughts tending to content flatter themselves
That they are not the first of fortune’s slaves,
Nor shall not be the last; like silly beggars 25
Who sitting in the stocks refuge their shame,
That many have and others must sit there;
And in this thought they find a kind of ease,
Bearing their own misfortunes on the back
Of such as have before endured the like. 30
Thus play I in one person many people,
And none contented: sometimes am I king;
Then treasons make me wish myself a beggar,
And so I am: then crushing penury
Persuades me I was better when a king; 35

Then am I king’d again: and by and by

Think that I am unking’d by Bolingbroke,
And straight am nothing: but whate’er I be,
Nor I nor any man that but man is
With nothing shall be pleased, till he be eased 40
With being nothing.
1. This passage is an example of 6. Lines 10–22 are developed using each of the
A. an elegy following except
B. a villanelle A. personification
C. an ode B. direct address
D. free verse C. simile
E. a soliloquy D. hyperbole
E. synecdoche
2. The extended metaphor in this passage
develops around 7. Richard attempts to comfort himself with the
A. royalty idea that
B. poverty A. others have and are enduring comparable
C. fortune hardships
D. prison B. it is possible to escape his prison
E. treason C. prayer will redeem him
D. his offspring will carry on his legacy
3. In line 5, “yet I’ll hammer it out” refers to
E. fortune or fate will intervene
Richard’s
A. aggression 8. The organization of this passage moves from
B. thought processes A. past to present
C. anger at his circumstances B. definition to an example
D. arrogance C. specific circumstances to universal
E. self-loathing conclusion
D. general principle to specific instances
4. The conceit in lines 6–11 is based on
E. positive attitude to negative one
A. sexuality
B. psychology 9. Lines 38–41 conclude the passage with an
C. genealogy example of
D. religion A. couplet
E. human nature B. spondee
C. epitaph
5. In line 10, “the people of this world” refers to
D. paradox
Richard’s
E. understatement
A. still breeding thoughts
B. brain and soul
C. “humours”
D. children
E. royal subjects

0. Richard’s major epiphany occurs within lines

1 12. The theme of isolation (lines 3–4) is reinforced
A. 1–5 by which of the following lines?
B. 11–14 A. 24–25
C. 38–41 B. 36–38
D. 18–22 C. 25–27
E. 23–27 D. 11–14
E. 31–32
11. Contrasts developed in the passage include all
of the following except
A. freedom and imprisonment
B. men and women
C. wealth and poverty
D. power and powerlessness
E. past and present
Questions 13– 25 are based on the following passage.
The Solitude of Self

by Elizabeth Cady Stanton
The point I wish plainly to bring before you on this occasion is the individuality
of each human soul; the right of individual conscience and judgment; our republican idea,
the individual citizenship. In discussing the right of woman we are to consider, first, what
belongs to her as an individual in a world of her own, the arbiter of her own destiny, an
imaginary Robinson Crusoe, with her woman Friday, on a solitary island. Her rights 5
under such circumstances are to use all her faculties for her own safety and happiness.
Secondly, if we consider her as a citizen, as a member of a great nation, she must
have the same rights as all members, according to the fundamental principles of our
government.
The strongest reason for giving woman all the opportunities for higher education, 10
for the full development of her faculties, her forces of mind and body; for giving her the
most enlarged freedom of thought and action; a complete emancipation from all forms of
bondage, of custom, dependence, superstition; from all the crippling influences of fear—is
the solitude and personal responsibility of her own individual life. The strongest reason
why we ask for woman a voice in the government under which she lives; in the religion 15
she is asked to believe; a quality in social life, where she is the chief factor; a place in the
trades and professions, where she may earn her bread, is because of her birth right to self-
sovereignty; because, as an individual, she must rely on herself. No matter how much
women prefer to lean, to be protected and supported, nor how much men desire to have
them do so, they must make the voyage of life alone, and for safety in an emergency, they 20
must know something of the laws of navigation. To guide our own craft, we must be
captain, pilot, engineer, with chart and compass to stand at the wheel; to watch the winds
and waves, and know when to take in the sail, and to read the signs in the firmament over all.
It matters not whether the solitary voyager is a man or woman; nature, having endowed
them equally, leaves them to their own skill and judgment in the hour of danger, and, if not 25
equal to the occasion, alike they perish.

We come into the world alone, unlike all who have gone before us, we leave it alone,
under circumstances peculiar to ourselves. No mortal ever has been, no mortal ever will be
just like the soul just launched on the sea of life. No one has ever found two blades of ribbon
grass alike, and no one will ever find two human beings alike. Seeing, then, that what must 30
be the infinite diversity of human character, we can appreciate the loss to a nation when any
class of the people is uneducated and unrepresented in the government.
We ask for the complete development of every individual, first, for his own benefit and
happiness. In fitting out an army, we give each soldier his own knapsack, arms, powder,
blanket, and utensils. We provide alike for all their individual necessities; then each man bears 35
his own burden. We ask complete individual development for the general good. The great
lesson that nature seems to teach us is self-dependence, self-protection, self-support.
Amid the greatest triumphs and darkest tragedies of life, we walk alone. On the divine
heights of human attainment, we stand alone. Alone we starve or steal . . . Seeing, then, that life
must ever be a march and a battle, that each soldier must be equipped for his own protection, 40
it is the height of cruelty to rob the individual of a single natural right.
Whatever may be said of man’s protecting power in ordinary conditions, amid all the
terrible disasters by land and sea, in the supreme moments of danger, alone woman must ever
meet the horrors of the situation. In that solemn solitude of self that links us with the
immeasurable and the eternal, each soul lives alone forever . . . 45
And yet, there is a solitude which each and every one of us has always carried with
him, more inaccessible than the ice cold mountains, more profound than the midnight sea; our
inner being which we call ourself.
Such is individual life. Who, I ask you, can take, dare take on himself the rights, the
duties, the responsibilities of another human soul? 50
3. The attitude of the author toward the

1 16. Paragraph three is developed using all the
education of women is following except
A. denigrating A. ironic contrast
B. ambivalent B. examples
C. imperious C. cause and effect
D. indifferent D. extended metaphor
E. imperative E. parallel structure
4. In the passage, the author uses each of the
1 17. The concept that all people have diversity in
following except common is an example of
A. metaphor A. paradox
B. complex sentence structure B. cause and effect
C. satire C. analogy
D. allusion D. understatement
E. parallel structure E. parody
15. For the author, the primary purpose of the 8. The “laws of navigation” (line 21) refer to
1
education of women is A. military laws
A. self-sufficiency B. celestial navigation
B. control of others C. laws of nature
C. to be equal with men D. tools needed for survival
D. to meet the demand of society E. God’s commandments
E. to teach others

9. “Our own craft” (line 21) is a metaphor for our

1 3. In exhorting the public to work for equal rights
2
A. soul for women, the author stresses
B. skills A. the military needs of the nation
C. bodies B. the physical strength of women
D. navy C. women’s conflict with the universe
E. place in government D. the eternal nature of the soul
E. the individuality and solitude of each
0. The twentieth-century civil rights movement
2
person
could most easily embrace which of the
following paragraphs? 24. The last sentence of the passage is an example
A. 1 of
B. 3 A. oxymoron
C. 4 B. irony
D. 6 C. rhetorical question
E. 7 D. a question dependent upon a logical fallacy
E. paradox
21. According to the passage, man and woman are
alike in all the following ways except 5. Which of the following lines is not a thematic
2
A. Nature made them equal. statement of the passage?
B. They are both solitary voyagers. A. 1–3 (“The point . . . citizenship”)
C. If unprepared, both will die. B. 5–6 (“Her . . . happiness”)
D. Each has an inner being. C. 30–32 (“Seeing . . . government”)
E. They are interdependent. D. 34–35 (“In . . . utensils”)
E. 49–50 (“Such is . . . soul”)
22. Paragraph 7 contains examples of
A. allusion
B. hyperbole
C. rhetorical questions
D. simile
E. apostrophe
Love Poem
by John Frederick Nims
My clumsiest dear, whose hands shipwreck vases,

At whose quick touch all glasses chip and ring,
Whose palms are bulls in china, burs in linen,
And have no cunning with any soft thing
Except all ill-at-ease fidgeting people: 5

The refugee uncertain at the door
You make at home; deftly you steady
The drunk clambering on his undulant floor.

Unpredictable dear, the taxi drivers’ terror,

Shrinking from far headlights pale as a dime 10
Yet leaping before red apoplectic streetcars—
Misfit in any space. And never on time.
A wrench in clocks and the solar system. Only

With words and people and love you move at ease.
In traffic of wit expertly manoeuvre 15
And keep us, all devotion, at your knees.
Forgetting your coffee spreading on our flannel,

Your lipstick grinning on our coat,
So gayly in love’s unbreakable heaven
Our souls on glory of spilt bourbon float. 20
Be with me, darling, early and late. Smash glasses—

I will study wry music for your sake.
For should your hands drop white and empty
All the toys of the world would break.
26. As used in the second stanza, “undulant” most 0. According to the poem, the lover is all the
3
closely means following except
A. polished A. clever
B. inebriated B. clumsy
C. wavy C. playful
D. dirty D. selfish
E. cluttered E. gracious
27. With reference to the title, the irony lies in the 31. “Be with me, darling” (line 21) is an example
A. reversal of the speaker’s thoughts of
B. absence of the beloved A. hyperbole
C. kindness of the lover B. personification
D. enumeration of the lover’s weaknesses C. allusion
E. wit of the lover D. invective
E. apostrophe
28. The image of “hands drop white and empty”
(line 23) implies the 32. The poem is essentially a
A. breaking of vases A. caricature
B. death of the lover B. satire
C. lover’s clumsy nature C. narrative
D. spilt bourbon D. character study
E. smashed glasses E. parable
9. The word “only” in line 13 serves to
2 3. Lines 5 and 6 illustrate an example of
3
A. introduce a contrasting thought A. enjambment
B. indicate isolation B. oxymoron
C. make the rhyme effective C. jargon
D. indicate cause and effect D. connotation
E. indicate passage of time E. ambiguity

34. The tone of the poem is 38. The poem is written in

A. effusive A. iambic pentameter
B. elegiac B. free verse
C. benevolent C. quatrains
D. didactic D. blank verse
E. adoring E. epigrams
5. The speaker’s attitude toward his love is
3 9. Line 3 includes an example of
3
A. critical A. metaphor
B. embarrassed B. synecdoche
C. enthralled C. metonymy
D. impatient D. simile
E. ill-at-ease E. onomatopoeia
36. “Toys of the world” in the last line of the poem 0. Line 20 employs
4
may be best understood as a metaphor for A. internal rhyme
A. life’s pleasures B. cacophony
B. youthful infatuations C. apostrophe
C. shattered dreams D. literary conceit
D. material objects E. assonance
E. lovers of the world
37. “A wrench in clocks and the solar system”
(line 13) can be best interpreted to mean
A. the speaker is uncomfortable
B. star-crossed lovers
C. being obsessive about time
D. the inability to face the future
E. being out of synch with established
conventions
Excerpt from As I Lay Dying, “Addie,”

by William Faulkner
In the afternoon when school was out and the last one had left with
his little dirty snuffling nose, instead of going home I would go down the hill
to the spring where I could be quiet and hate them. It would be quiet there then,
with the water bubbling up and away and the sun slanting quiet in the trees and
the quiet smelling of damp and rotting leaves and new earth, especially in the 5
early spring, for it was worst then.
I could just remember how my father used to say that the reason for living
was to get ready to stay dead for a long time. And when I would have to look at
them day after day, each with his and her secret and selfish thought, and blood
strange to each other blood and strange to mine, and think that this seemed to be the 10

only way I could get ready to stay dead, I would hate my father for having planted
me. I would look forward to the times when they faulted, so I could whip them.
When the switch fell I could feel it upon my flesh; when it welted and ridged it was
my blood that ran, and I would think with each blow of the switch: Now you are
aware of me! Now I am something in your secret and selfish life, who have marked 15
your blood with my own for ever and ever.
And so I took Anse. I saw him pass the school house three or four times before
I learned that he was driving four miles out of his way to do it. I noticed then how he
was beginning to hump—a tall man and young—so that he looked already like a tall
bird hunched in the cold weather, on the wagon seat. 20
In early spring it was worst. Sometimes I thought that I could not bear it,
lying in bed at night, with the wild geese going north and their honking coming faint
and high and wild out of the wild darkness, and during the day it would seem as though
I couldn’t wait for the last one to go so I could go down to the spring. And so when I
looked up that day and saw Anse standing there in his Sunday clothes, turning his hat 25
round and round in his hands, I said:
“If you’ve got any womenfolks, why in the world dont they make you get your
hair cut?”
“I aint got none,” he said. Then he said suddenly, driving his eyes at me like
two hounds in a strange yard: “That’s what I come to see you about.” 30
“And make you hold your shoulders up,” I said. “You haven’t got any? But
you’ve got a house. They tell me you’ve got a house and a good farm. And you live
there alone, doing for yourself, do you?” He just looked at me, turning the hat in his
hands. “A new house,” I said. “Are you going to get married?”
And he said again, holding his eyes to mine: “That’s what I come to see you 35
about.”
Later he told me, “I aint got no people. So that wont be no worry to you. I
dont reckon you can say the same.”
“No. I have people. In Jefferson.”
His face fell a little. “Well, I got a little property. I’m forehanded; I got a 40
good honest name. I know how town folks are, but maybe when they talk to me . . . ”
“They might listen,” I said. “But they’ll be hard to talk to.” He was watching
my face. “They’re in the cemetery.”
“But your living kin,” he said. “They’ll be different.”
“Will they?” I said. “I dont know. I never had any other kind.” 45
So I took Anse.
1. The “geese” (line 22) are a symbolic

4 42. In the first paragraph, the reader learns all the
representation of following except
A. Addie’s desire to be part of a family A. the point of view of the piece
B. Addie’s desire to be connected to nature B. the speaker’s tone
C. Addie’s desire to be free C. the conflicts
D. the children Addie teaches D. the setting
E. the people in Jefferson E. the central event of the narration

3. In lines 29–44, the character of Anse is revealed

4 48. The repetition of the phrase “so I took Anse”
by which of the following literary techniques? serves to
A. colloquial diction A. further develop the setting
B. rhetorical questions B. establish an ironic situation
C. a shift in tense C. highlight the importance of the event
D. omniscient point of view D. support Addie’s ambivalence
E. humor E. establish a matter-of-fact explanation of the
relationship
44. Figurative language is found in lines
A. 4 and 8 9. In line 21, “In early spring it was worst,” “it”
4
B. 23 and 25–26 refers to Addie’s
C. 1 and 2 A. restless nature
D. 19–20 and 29–30 B. longing for Anse
E. 7–8 and 35 C. sadistic tendencies
D. students’ behavior
5. The concept of alienation is supported by all of
4
E. desire to be married
the following except
A. “each with his and her secret and selfish 0. Addie whips the children primarily because
5
thought” A. they talk back to her
B. “blood strange to each other blood and B. she hates her job
strange to mine” C. she believes corporal punishment will make
C. “When the switch fell I could feel it upon the children learn better
my flesh” D. she wants them to know she is there
D. “They’re in the cemetery” E. she sees no other way to control them
E. “I aint got no people”
1. ALL of the following ideas are presented and
5
46. Addie marries because supported in the passage EXCEPT
A. she is in love with Anse A. the relationship between life and death
B. it was expected of women B. isolation and alienation
C. she thinks he will take her north C. freedom and commitment
D. Anse presents himself at that D. frustration and resignation
particular time E. hope and liberation
E. she wants children
2. Addie’s philosophy and behavior most likely
5
47. The reader can infer that Addie’s role in the come from
marriage will be A. her religious beliefs
A. supportive B. her father
B. controlling C. her childhood experiences
C. submissive D. her people in Jefferson
D. grateful E. her education
E. erotic

53. Which of the following images are contrasted 5. Symbolically, “early spring” may represent
5
in the passage? A. bubbling water
A. the hill . . . the spring (lines 2–3) B. the blood
B. water bubbling up . . . sun slanting (line 4) C. “womenfolks”
C. rotting leaves . . . new earth (line 5) D. Addie’s life force
D. welted . . . ridged (line 13) E. secret and selfish lives
E. secret . . . selfish (line 15)
54. On an interpretive level, Addie associates quiet
with all of the following except
A. hatred
B. innermost feelings
C. escape
D. nature
E. death
END OF SECTION I

Section II
Question 1
In the short story “Reginald’s Choir Treat,” Saki contrasts two complex philosophies of life. In a well-organized
essay, identify and discuss these two views and which of them the reader can infer is preferred by the narrator.
Develop your discussion referring to at least two elements of the writer’s craft such as irony, contrast, narration,
dialogue, allusion, and tone.
Reginald’s Choir Treat

by Saki
“Never,” wrote Reginald to his most darling friend, “be a pioneer. It’s the Early Christian
that gets the fattest lion.”
Reginald, in his way, was a pioneer.
None of the rest of his family had anything approaching Titian hair or a sense of humour,
and they used primroses as a table decoration. 5
It follows that they never understood Reginald, who came down late to breakfast,
and nibbled toast, and said disrespectful things about the universe. The family ate porridge,
and believed in everything, even the weather forecast.
Therefore the family was relieved when the vicar’s daughter undertook the reformation
of Reginald. Her name was Anabel; it was the vicar’s one extravagance. Anabel was 10
accounted a beauty and intellectually gifted: she never played tennis, and was reputed to
have read Maeterlinck’s “Life of a Bee.” If you abstain from tennis and read Maeterlinck in
a small country village, you are of necessity intellectual. Also she had been twice to Fecamp
to pick up a good French accent from the Americans staying there; consequently she had a
knowledge of the world which might be considered useful in dealings with a worldling. 15
Hence the congratulations in the family when Anabel undertook the reformation of
the wayward member.
Anabel commenced operations by asking her unsuspecting pupil to tea in the vicarage
garden; she believed in the healthy influence of natural surroundings, never having been in
Sicily, where things are different. 20
And like every woman who has ever preached repentance to unregenerate youth, she
dwelt on the sin of an empty life, which always seems so much more scandalous in the
country, where people rise early to see if a new strawberry has happened during the night.
Reginald recalled the lilies of the field, “which simply sat and looked beautiful, and
defied competition.” 25
“But that is not an example for us to follow,” gasped Anabel.
“Unfortunately, we can’t afford to. You don’t know what a world of trouble I take in trying
to rival the lilies in their artistic simplicity.”
“You are really indecently vain in your appearance. A good life is infinitely preferable
to good looks.” 30
“You agree with me that the two are incompatible. I always say beauty is only skin
deep.”
Anabel began to realize that the battle is not always to the strong-minded. With the
immemorial resource of her sex, she abandoned the frontal attack and laid stress on her
unassisted labours in parish work, her mental loneliness, her discouragements—and at the 35
right moment she produced strawberries and cream. Reginald was obviously affected by the

latter, and when his preceptress suggested that he might begin the strenuous life by helping
her to supervise the annual outing of the bucolic infants who composed the local choir, his
eyes shone with the dangerous enthusiasm of a convert.
Reginald entered on the strenuous life alone, as far as Anabel was concerned. The 40
most virtuous women are not proof against damp grass, and Anabel kept to her bed with a
cold. Reginald called it a dispensation; it had been the dream of his life to stage-manage a
choir outing. With strategic insight, he led his shy, bullet-headed charges to the nearest
woodland stream and allowed them to bathe; then he seated himself on the discarded
garments and discoursed on their immediate future, which, he decreed, was to embrace a 45
Bacchanalian procession through the village. Forethought had provided the occasion with
a supply of tin whistles, but the introduction of a he-goat from a neighbouring orchard was a
brilliant afterthought. Properly, Reginald explained, there should have been an outfit of
panther skins; as it was, those who had spotted handkerchiefs were allowed to wear them,
which they did with thankfulness. Reginald recognized the impossibility in the time at his 50
disposal, of teaching his shivering neophytes a chant in honour of Bacchus, so he started
them off with a more familiar, if less appropriate, temperance hymn. After all, he said, it
is the spirit of the thing that counts. Following the etiquette of dramatic authors on first
nights, he remained discreetly in the background while the procession, with extreme
diffidence and the goat, wound its way lugubriously towards the village. The singing had 55
died down long before the main street was reached, but the miserable wailing of pipes
brought the inhabitants to their doors. Reginald said he had seen something like it in pictures;
the villagers had seen nothing like it in their lives, and remarked as much freely.
Reginald’s family never forgave him. They had no sense of humour.
Question 2
In “The Tables Turned,” by William Wordsworth and “To David, About His Education” by Howard Nemerov,
the poets reveal their complex attitudes toward education. In a well-organized essay, discuss their similarities
and differences. You may wish to consider style, tone, poetic devices, structure, and imagery.
The Tables Turned

by William Wordsworth
Up! up! my friend, and quit your books;
Or surely you’ll grow double:
Up! up! my friend, and clear your looks;
Why all this toil and trouble? 4
The sun, above the mountain’s head,

A freshening lustre mellow
Through all the long, green fields has spread,
His first sweet evening yellow. 8
Books! ’tis a dull and endless strife:

Come, hear the woodland linnet,
How sweet his music! on my life,
There’s more of wisdom in it. 12

And hark! how blithe the throstle sings!

He, too, is no mean preacher:
Come forth into the light of things,
Let Nature be your teacher. 16
She has a world of ready wealth,

Our minds and hearts to bless,—
Spontaneous wisdom breathed by health,
Truth breathed by cheerfulness. 20
One impulse from a vernal wood

May teach you more of man,
Of moral evil and of good,
Than all the sages can. 24
Sweet is the lore which Nature brings;

Our meddling intellect
Misshapes the beauteous forms of things,—
We murder to dissect. 28
Enough of Science and of Art;

Close up those barren leaves;
Come forth, and bring with you a heart
That watches and receives. 32
To David, About His Education

by Howard Nemerov
The world is full of mostly invisible things,
And there is no way but putting the mind’s eye,
Or its nose, in a book, to find them out,
Things like the square root of Everest
Or how many times Byron goes into Texas, 5
Or whether the law of the excluded middle
Applies west of the Rockies. For these
And the like reasons, you have to go to school
And study books and listen to what you are told,
And sometimes try to remember. Though I don’t know 10
What you will do with the mean annual rainfall
On Plato’s Republic, or the calorie content
Of the Diet of Worms, such things are said to be
Good for you, and you will have to learn them
In order to become one of the grown-ups 15
Who sees invisible things neither steadily nor whole,
But keeps gravely the grand confusion of the world
Under his hat, which is where it belongs,
And teaches small children to do this in their turn.

Question 3
Frequently a work of literature will concern itself with a major transformation in a character. This transforma-
tion could be actual or symbolic. Choose a full-length work and write a well-organized essay in which you
discuss the complex nature of the transformation and its relationship to character and theme. You may choose
from the list below or another novel or play of literary merit.
Frankenstein Othello
Hamlet I Know Why the Caged Bird Sings
Metamorphosis Gulliver’s Travels
Native Son Sula
Dr. Jekyll and Mr. Hyde The Importance of Being Earnest
A Doll’s House The Color Purple
The Poisonwood Bible The Awakening
Twelfth Night Things Fall Apart
Invisible Man King Lear
The Joy Luck Club The Stranger
Madame Bovary The Scarlet Letter
Pygmalion
END OF SECTION II

ANSWERS TO MULTIPLE-CHOICE QUESTIONS

Answer Key
1. E 20. C 39. A
2. D 21. E 40. E
3. B 22. B 41. C
4. C 23. E 42. E
5. A 24. C 43. A
6. E 25. D 44. D
7. A 26. C 45. C
8. C 27. D 46. D
9. D 28. B 47. B
10. C 29. A 48. E
11. B 30. D 49. A
12. E 31. E 50. D
13. E 32. D 51. E
14. C 33. A 52. B
15. A 34. E 53. C
16. A 35. C 54. A
17. A 36. A 55. D
18. D 37. E
19. C 38. C


1. E. This is a terminology question. This is a 11. B. Although “female” and “father” are
soliloquy that reveals Richard’s thoughts to the mentioned, there is no inherent contrast
audience through his internal monologue that between them.
is stated audibly. 12. E. Lines 3–4 express the literal solitude. Lines
2. D. References to kingship are part of 31–32 describe his figurative coping with this
Richard’s real world, and therefore not part solitude.
of the metaphor. Images of poverty, fortune, 13. E. This is one of those questions that assumes
and beggars’ penury support and develop the you have a working AP-level vocabulary. You
thoughts he has in his state of deprivation. can immediately eliminate A and D because of
Treason also refers to his thoughts, which their negative associations. “Ambivalent” relates
he hopes will enable him to deal with his to being undecided, and “imperious” refers
imprisonment. to a controlling attitude. Therefore, E is the
3. B. Again, this is basically a vocabulary appropriate choice, since Stanton is stressing
question. To “hammer” something out is to the need to ensure equal rights to women.
analyze a problem thoroughly. 14. C. Metaphor can be spotted in paragraphs 3
4. C. The image is one of conception, but and 5. Complex sentence structure is part
Richard’s thoughts are going to reproduce and of the author’s style. Just look at the first
people the world that is in his mind. sentence of paragraph 3. Allusions are part
5. A. Building on the information in the of paragraph 1, and parallel structure is
previous question, the only reliable answer is A. incorporated into paragraphs 3 and 5. You will
6. E. This is a terminology question that requires find no examples of satire in this passage.
an understanding of how the term can be used 15. A. The idea of self-sufficiency as the key to
in a work. An example of personification is personal safety and happiness is stressed in
found in lines 23–24. You can locate direct almost every paragraph. Close reading reveals
address in line 15; hyperbole is used in lines that none of the other choices is developed.
16–17. Lines 25–26 contain an example of 16. A. Ironic contrast is absent from the entire
simile. Synecdoche is a literary device that has passage. You can locate examples of each of
the part representing the whole, and it is not the other choices. Examples are found in
used in this passage. paragraph 5; cause and effect are part and
7. A. Lines 23–30 provide the evidence that parcel of paragraph 3; an extended metaphor is
thinking of others helps to ease one’s personal developed in paragraph 3; and parallel structure
hardship. is used in paragraph 4.
8. C. The opening two lines establish Richard’s 17. A. “Diversity” and “common” are mutually
imprisonment, and the concluding lines state, exclusive terms. If you know the definition of
“Nor I nor any man,” which expands the paradox, this will lead you to paradox as the
concept from a specific situation to a universal only appropriate choice.
concept. 18. D. The answer to this question depends on a
9. D. Richard realizes that to be truly at ease, he clear understanding of the extended metaphor
must accept that he has lost everything that developed around sailing. A sailor needs to use
previously seemed to bring him contentment. the laws of navigation to safely sail the seas,
This contradictory concept is an example of just as a human being needs self-sufficiency to
paradox. survive the world at large.
10. C. All of Richard’s thoughts about religion, 19. C. Following the structure of the extended sea/
ambition, and contentment lead to the sailor metaphor, you should recognize that self-
concluding statement beginning in line 38 sufficiency refers to the “craft as body” being
that he accepts being nothing and is thereby independent.
content.

20. C. Paragraph 4 stresses the need for a strong 31. E. By definition, an apostrophe is an example
nation to accept differences and to understand of direct address.
that any diminished class diminishes the entire 32. D. Even though there is some exaggeration
country. and humor, they are used to develop the
21. E. The focus of the entire passage is on the character of the beloved, and a narrative
solitary nature of human beings and the need requires elements of a story.
for self-sufficiency. Although men and women 33. A. As you can see, it is imperative that you
must interact, ultimately each is responsible for know terminology. To make sense, lines 5 and
himself or herself. 6 must be read smoothly to the punctuation
22. B. If you know the definition of hyperbole, rather than to the end of the line.
you will recognize the examples in paragraph 7: 34. E. The tone is revealed clearly in lines 16, 19,
“each and every one . . . ,” “always . . . ,” “more 23, and 24. The speaker adores his beloved.
inaccessible than the ice cold mountains . . . ,” 35. C. This is a question that is almost too easy.
and “more profound than the midnight sea.” Use your information from questions 30, 31,
23. E. The answer comes from a careful reading and 34 to help you recognize that all the other
and understanding of the complete passage and choices are negative.
its organization. The concept of equality and 36. A. As toys bring joy and delight, so, too, does
human rights was basic for Stanton, as it is for the lover bring pleasure to the speaker’s life. She
anyone involved in civil rights. holds toys and the speaker in her hands.
24. C. Here, again, a working familiarity with 37. E. The clocks and solar system represent
literary terminology is required. Since Stanton time and space. (See metonymy in Chapter 8.)
asks a question that does not require a direct “Wrench” indicates a breakdown of a system
response, C is the appropriate choice. (e.g., “throwing a wrench into the system”).
25. D. These lines are part of the metaphor Stanton 38. C. A straightforward, factual question. Again,
develops to support the other four choices cited. you need to know your terms.
26. C. You should use the context of lines 7–8 to 39. A. This is a poetic term and example question.
help you. “Steady” implies a lack of movement The two metaphors are that palms are “bulls”
and leads you to the best choice, “wavy,” which and “burs in linen.”
implies motions. 40. E. This is a subtle question which asks
27. D. The entire poem lists the beloved’s faults, you to hear the sound of the line. All the
yet the speaker adores her for them. This open “O” sounds reinforce the idea of floating.
contradiction is the essence of the ironic title. None of the other given devices is present in
Choice A is close, but it refers to the situation this line.
of the entire poem, not just the title. 41. C. One of the universal symbols of freedom is
28. B. It is easy to jump to the conclusion that the flight. To refer to “wild geese going north” is to
lover has broken yet another object. However, reinforce Addie’s desire to be free.
A, C, D, and E all support that idea; therefore, 42. E. “I” indicates a first person narrator point
they cancel one another out. of view. The phrases “little dirty snuffling
29. A. You are required to reread the lines prior nose,” “damp and rotting leaves,” and “it was
to the word “only” in order to realize that worst then” are indicative of conflict, setting,
it provides a contrast. B and C are readily and tone. What is not mentioned in this first
eliminated with a glance, and D and E are not paragraph is a central event.
supported by the poem. 43. A. These lines are primarily composed of
30. D. Pay careful attention to the word “except.” dialogue, so it is here that you should look for
Then use substitution to find the one quality your answer. Vocabulary, similes, and syntax all
she does not exhibit. The answer is supported point to colloquial (informal, conversational)
in line 15 with “wit,” line 1 with “clumsiest,” diction.
line 14 with “at ease,” and line 19 with “gayly.”

44. D. The similes found in these two sets of lines spring, longing, potential, and desire to be free
are examples of figurative language. The other as wild geese lead to the conclusion that Addie
lines are factual and reportorial. has a restless nature.
45. C. The concepts and images associated with 50. D. Lines 1–15 give you the direct answer.
alienation are found in phrases containing “. . . and I would think with each blow of the
“secret,” “blood strange,” “cemetery,” and “got switch: Now you are aware of me!”
no people.” C, on the other hand, is cause and 51. E. A careful reading of the passage will lead
effect. you through Addie’s experiences and thoughts
46. D. There is no evidence of any of the other about living and dying, about being alone,
choices in the passage. The very last line begins about being in a relationship, and about being
with the word “so.” It is indicative of a matter- free. Therefore, you need to recognize that, for
of-fact result of Anse being in the right place at Addie, hope and liberation is not in her future.
the right time. 52. B. The second paragraph gives you the correct
47. B. In this passage, Addie’s conversation and answer. It directly refers to the father.
interaction with Anse always place him in a 53. C. Contrast demands difference. The only
subservient, uncomfortable position. See lines appropriate choice, therefore, is “rotting
27–28 and 31–33 to support the idea of her leaves . . . new earth.” Rotting and new are the
dominance. contrast here.
48. E. Lines 17 and 46 indicate a straightforward 54. A. Paragraphs 1, 2, and 4 allow the reader
cause and effect that just so happens to lead into Addie’s psyche. The one characteristic not
to Addie marrying Anse. Ambivalence, irony, associated with her seeking quiet is hatred.
setting, and highlighting an event are not 55. D. This is another universal symbol. The
references of the given phrase. associations with spring, especially early spring,
49. A. The “it” in this question is used the second center around renewal, regeneration, hope,
time in the same way. See lines 4–6: The early fertility, and the continuance of life.
Rating the Essay Section

Rubrics for “Reginald’s Choir Treat” by Saki
• Indicates complete understanding of the prompt.
KEY IDEA • Identifies the two views of life presented in the story.
• Recognizes which view is preferred by the author.
• Effectively and coherently analyzes Saki’s craft.
• Is cognizant of satire.
• Recognizes the humor in the allusions.
• Understands the irony and tone of the essay.
• Delineates Reginald’s character.
• Cites appropriate textual references.
• Presents advanced insight.
• Strongly adheres to topic and uses connective tissue.
• Demonstrates an ability to manipulate language in a mature style.
• Presents the two philosophies.
• Refers accurately to Saki’s craft.

• Infers the narrator’s preference of lifestyle.

• Presents less developed discussion of the two views of life.
• Adequately links elements of the discussion.
• May miss the satire of the story.
• Concentrates on the obvious rather than on the inferences and implications.
• Organization is adequate.
• May exhibit a few errors in syntax and/or diction.

Student Essay A
In the short story “Reginald’s Choir Treat” Saki contrasts two philosophies of life.
One is a daring, cynical, and whimsical approach to life, like Reginald’s. The other is a
conservative, intellectual, religious, reforming approach to life like Anabel’s. The author’s
sarcastic tone with a hint of diffidence indicates that he agrees with Reginald’s cause, but
he pities the fact that few people can relate to or understand “pioneers.” Saki contrasts and 5
shows the irony of both Anabel and Reginald’s actions and perspectives about life to help
the reader understand the two philosophies. However, even Anabel’s philosophy shares some
similarities to Reginald’s and is more appealing to Saki’s story than that of Reginald’s
family, which lives a modest, pedestrian, and uncompromising life, with no tolerance for
the whims of Reginald. 10
Reginald does not fit in with his family’s lifestyle. He questioned the universe and
pleased himself with unconventional fantasies. Anabel is a gifted vicar’s daughter who
leads a charitable life and tries to be worldly at the same time. She attempts to make
Reginald more religious and to coax him with her womanly charms but is unsuccessful.
Saki ironically has her traveling to a French resort to pick up a good French accent from 15
the Americans living there. She also persuades Reginald to lead a more virtuous life like
herself and then ironically leaves Reginald to complete one of her charitable obligations
without her. In a dialogue between the two main characters, Saki uses conversation to
contrast Reginald with Anabel’s perspectives. She speaks against the “sin of an empty life,”
and Reginald recalls the artistic “simplicity of the lilies” that simply sit and look beautiful. 20
The greatest humorous irony of the story is Reginald turning religious charity work in the
form of a choir outing into a whimsical pagan festival which is an allusion to the mythological
Bacchus, the god of wine and pleasure. He shows his carefree and sarcastic approach to life
by giving choirboys “tin whistles” and parading them through the streets with symbols of
Bacchus. Another irony is that he has children honor Bacchus (god of wine) with a 25
temperance hymn familiar to them, and that the parade which was intended to be gay turns
out to be a lugubrious procession with the “miserable wailing of pipes.”
A sign that Saki sides with Reginald’s unappreciated actions over those of Anabel, or
especially those of his family, is in the story’s conclusion. Reginald’s family never forgives
him, and Saki adds that they felt this way because “they had no sense of humour.” 30

This makes it clear that the unfortunate and almost bitter ending is their flaw and not
Reginald’s because they should have appreciated the humor of the situation.
Saki shows that he shares some of Reginald’s philosophy with his frequent use of
irony and sarcasm. He shows that people who share Anabel’s philosophy will not be able to
reform those whimsical pioneers like Reginald. But, they should be amiable and attempt 35
to appreciate the sense of humor in the actions of those like Reginald. If not, they will be
doomed to live an ill-humored, mundane life like that of Reginald’s family.

• Contains a clear opening, which sets up the organization of the essay.
KEY IDEA • Is direct and accurate.
• Establishes Saki’s attitude.
• Introduces sarcasm and defends it (lines 3–5).
• Clarifies distinction between the two views and the characters (lines 5–10, 11–14).
• Contains strong textual references.
• Addresses the writer’s craft.
• Juxtaposes the two characters and their opposing views (lines 18–20).
• Provides a perceptive interpretation of a grammatical detail (lines 29–31).
• Uses echo words well.
• Draws appropriate conclusions based on the evidence presented (lines 34–37).
• Writes good transitions.
• Organization, syntax, and diction are adequate.
This is an essay that can be categorized as high. Its strong textual references and under-
standing of the subtleties allow it to be in the high range even though there are some lapses
in syntax.
Student Essay B
Saki’s short story “Reginald’s Choir Treat” contrasts two different philosophies
of life. Each philosophy is represented by different characters. Conformity is
represented by Anabel and nonconformity is represented by Reginald. In this story,
Anabel and Reginald’s parents try to make Reginald conform to the rest of society. Yet,
his choir treat demonstrates that their goal failed. Through his use of tone, dialogue, 5
and contrast, Saki indirectly shows his support of Reginald’s nonconformity.
Saki uses a sarcastic tone, particularly towards Anabel and the other conformists.
The first line of the story has an adage from Reginald: “never be a pioneer. It’s the
Early Christian that gets the fattest lion.” This saying sets the sarcastic tone for the
rest of the story. Later on, in his description of Anabel, Saki notes that, “if you abstain 10
from tennis and read Maeterlinck in a small country village, you are of necessity
intellectual.” Likewise, in his description of Reginald’s family, Saki points out that the
rest of his family used “primroses as a table decoration.” Saki is mocking all the
conformists because of their desire to conform to society. He uses this sarcastic tone to
demonstrate his partiality towards Reginald’s free nature. 15

Saki also uses a contrast between Reginald and Anabel. The only direct
description of Reginald is that “[He], in his way, is a pioneer.” On the other hand, the
author describes many details about Anabel. He calls Anabel, “the vicar’s one extravagance.”
Yet, in this case, Saki uses the pronoun “it” to refer to Anabel’s fanciful name,
demonstrating his distaste for her. He sarcastically relates that “Anabel was accounted 20
a beauty and intellectually gifted” because “she had been twice to Fecamp to pick up a good
French accent from the Americans staying there.” Saki presents the notion that many
believe the conformists are better than the nonconformists and uses Anabel to refute that
notion. Despite these accolades Saki has attributed to her, he mocks her and her philosophy.
Similarly, Saki uses dialogue to demonstrate his favoring nonconformity. The 25
conversation between Reginald and Anabel revolves around trying to convince Reginald to
abandon his nonconformity. She tries to do so by insulting him. Anabel tells him that
“[He is] really indecently vain in [his] appearance.” For a woman who is supposed to be
smart and sweet, she does not display any of those qualities here. Her nasty nature
towards Reginald in this dialogue further emphasizes Saki’s distaste for her and 30
her philosophy.
Obviously, Saki views individual expression as important and nonthreatening.
He recognizes that the best weapon to fight conformity is humor.

• Clearly sets up the prompt and the organization of the essay (lines 1–6).
• Establishes the characters of Reginald and Anabel.
• Recognizes and discusses sarcasm (lines 10–11).
• Presents dialogue as indicative of character (lines 25–30).
• Makes inferences and understands satire.
• Presents author’s preference and defends it (lines 7, 13–15).
• Draws threads of essay together and synthesizes technique with interpretation (lines
32–33).
What does not allow this essay to be rated in the high range is its syntax and diction.
Rubrics for the Poetry Essay

• Effectively and coherently discusses each poet’s attitude toward education.
KEY IDEA • Effectively and coherently discusses the similarities and differences between the two poems.
• Indicates a fluency with poetic analysis.
• Identifies and analyzes appropriate references to support an interpretation.
• Exhibits strong topic adherence and connective tissue.
• Draws mature inferences.
• Responds to subtleties in both poems.
• Writer’s syntax and diction demonstrate a mature style.
• Adequately addresses the prompt.
• Identifies and discusses the writers’ techniques.
• Adequately discusses similarities and differences between the two poems.

• Presents an adequate discussion of each poet’s attitude.

• Displays acceptable writing skills.
• May not be sensitive to inference and tone.
• Focuses on the obvious and may not recognize the subtleties in both poems.
• Writing may have a few errors in syntax and/or diction.
Student Essay A
“The Tables Turned” by William Wordsworth and “To David, About
His Education” by Howard Nemerov promulgate two different views of
education. While they both agree that being taught and learning are
important and necessary, there is a disagreement about where the lessons
should come from, the purpose and direction of education, and the value 5
which education possesses. Not only are the ideas of each selection
dissimilar, but the structure, tone, and imagery are as well, which
facilitates each poet’s argument.
“The Tables Turned” espouses learning through experience and living
in nature. The speaker wants students to “quit their books” (1) and “Let 10
Nature be your teacher” (16). He believes that there is a great deal more to be
learned from experience than can ever be found in a book. The education
suggested in this poem is a practical one. Learning about the environment
and how the world works from experiencing it will allow a person to make his
own conclusions and proceed as he sees fit. Wordsworth believes that his brand 15
of education through nature will provide “spontaneous wisdom breathed by
health/truth breathed by cheerfulness” (19–20). This education does not merely
cultivate the mind, but also the soul and spirit.
On the other hand, “To David, About His Education” suggests that the
important parts of life are learned through books. Where the Wordsworth poem calls 20
books “dull and endless strife” (9), it calls for putting the mind’s eye / or its nose, in a
book (2–3) to receive a proper education. Nemerov’s poem suggests that studying
from books is a more effective way to learn but cannot procure a benefit to the method.
He merely states, “You will have to learn them/ in order to become one of the
grown-ups” (14–15), not to become any kind of an enlightened, educated person. 25
The images in the poem by Nemerov are of ridiculous facts and esoteric information,
such as “the square root of Everest” (4) or the “calorie content of the Diet of Worms” (13).
The images are hyperbolic examples of the need for an education through books. Only
this kind of an education will produce the answers to such questions.
In contrast, Wordsworth used natural images to explain the merit of education 30
through experience. He notes that there is more wisdom in the songs of birds than in
the world’s books.
The tone that Wordsworth uses is accusatory and somewhat didactic. In lines
17–18 he says that time is being wasted on books when nature has so much more to
offer. He urges the student to “Let Nature be your teacher” (16). Yet, Nemerov uses 35

the tone of an all-knowing sage to suggest that there is a plethora of knowledge

available in texts. The facts stated in his poem are obviously false, like “how many
times Byron goes to Texas” (5), but their inclusion reinforces the tone of great wisdom
and knowledge.
Likewise, the diction that Wordsworth uses, such as “intellect,” “wisdom,” and 40
“truth” convey a more complete education than words like “learn,” “remember,” or “find
out” which appear in Nemerov’s poem.
Although both poems advocate a form of education, the means to their ends are
quite different.

• Contains a sophisticated and complex introduction to the task at hand (lines 1–8).
KEY IDEA • Clearly and concisely identifies the attitude of both poets toward education and supports
it with references to the text (lines 10–11, 23–25).
• Perceives implications arising from the poems (lines 12–13).
• Uses connective tissue well.
• Contrast discussed with support (lines 26–33).
• Pulls together the similarities and differences with respect to imagery (lines 28–29), tone
(lines 35–37), and diction (lines 40–42).
This spare essay falls into the high range because it is packed with appropriate detail
and effective and coherent analyses and interpretation.
Student Essay B
William Wordsworth and Howard Nemerov disagree about how one should
be educated. Their differences in style, structure, and most importantly, tone are
quite obvious from the very opening line of each poem.
Although most people would tend to agree with Nemerov’s viewpoint that a
proper education is achieved through schooling, Wordsworth makes an interesting 5
opposition in his poem, “The Tables Turned,” which questions the concept of an
education through school, favoring a more “hands on” approach. By opening his poem
with the exclamation “Up! Up!,” he immediately attracts attention to the page. His
instructions to quit studying, however, are quite ironic considering his allusion to
Shakespeare’s Macbeth. While he attempts to prove that studying is worthless, he 10
is illustrating through his references that he is a learned man. Additionally,
Wordsworth glorifies Nature by pointing out the “freshening lustre” and “sweet music,”
which also makes studying seem dull and boring in comparison. The imagery
Wordsworth uses clearly illustrates his bias that nature is better than school. Nature is
always referred to as “light,” and “sweet,” whereas studies are thought of as “toil and 15
trouble,” “a dull and endless strife,” and “barren leaves.” By continuing to use
exclamation points and “exciting” words including “hark” throughout the poem,
Wordsworth continues in his upbeat state when referring to Nature. In fact,
Wordsworth is so reverent toward nature that he personifies her. The most glaring

point illustrated in the poem comes in the last verse. Wordsworth basically sums up 20
his entire poem in those four lines, which exclaim that studying nature is a more
fulfilling education than constantly reading books of Science and Art.
Throughout the poem “To David, About His Education,” Nemerov illustrates
just as Wordsworth did through his reference to Shakespeare, that he is very educated.
At times, it seems as if Nemerov has a sarcastic, almost cynical approach toward 25
school, with his mocking of things taught in school, such as “the square root of Everest.”
Yet, he realizes the underlying benefits of a proper education, as he points out that “such
things are said to be good for you.” Nemerov uses a very unusual structure in this poem,
as he applies two or more academic subjects which may have nothing in common except
that they are both taught in school, and he is able to tie them together to make sense, 30
almost in joking manner. Statements such as “the law of the excluded middle applies
west of the Rockies” illustrate this method, as does the “calorie content of the Diet of
Worms.” Although Diet of Worms has nothing to do with eating, Nemerov connects the
two almost as if his brain has been overloaded with useless information, similar to the
way a student might accidentally confuse the material of multiple subjects he is 35
studying. Nemerov fully understands the value of an education “in order to become
one of the grown-ups.”
Wordsworth and Nemerov have blatantly opposing opinions about the best method
of education. While Wordsworth illustrates through his poem that an education through
Nature is more valuable than spending hours reading books, Nemerov understands that 40
in order to be accepted by society, a knowledge of academic subjects is vital.

• Adequately illustrates a facility with analysis with respect to imagery (lines 13–16) and
tone (lines 18–19, 25–26, 31–32).
• Is clearly on topic with good use of connective tissue.
• Provides adequate evidence to defend interpretations (lines 31–36).
This is a strong midrange essay with clear analysis, topic adherence, and support.
Details chosen are obvious, and the presentation has a few lapses in syntax and diction.
Rubrics for the Free-Response Essay

• Effectively and coherently addresses the nature of the transformation.
KEY IDEA • Effectively and coherently discusses the effects of the transformation on character and
meaning.
• Insightful choice of details from an appropriate novel or play.
• Differentiates between actual and symbolic transformations.
• Focuses on the results of the transformation with regard to character and theme.
• Thoroughly discusses a specific character in context.
• Demonstrates mature writing style.


• Adequately identifies and discusses the transformation.
• Adequately addresses the transformation’s effect on the character and theme.
• Results of transformation are presented with less developed discussion and/or analysis.
• Relies on obvious details to support the prompt or discussion.
• Adequately adheres to topic and uses connective tissue.
• Demonstrates some errors in syntax and diction.

Student Essay A
In the novel The Color Purple by Alice Walker, the heroine, Celie, grows and
develops tremendously as an individual. Throughout the course of the story, Celie
undergoes major spiritual and psychological transformations. In essence, Celie is
reborn. The novel’s themes of the power of faith, a united sisterhood, and rebirth are
all emphasized by Celie’s dramatic character evolution. 5
The novel begins with Celie writing a letter to God, telling him how her father
has been raping her. Only fourteen years old, Celie is naive and still somewhat
immature. She doesn’t understand what her father is doing to her, and even more
unfortunately, she doesn’t have anyone to confide in. Thus, the reader senses Celie’s
immense isolation as she shares her confusion with, and only with, God. 10
Celie’s life takes on a turn for the worse when she is sent to live with her
arranged husband, Mr.—, who beats her and doesn’t appreciate her. She does
all of his work for him and his children, and again she has not a friend to turn to.
However, when Mr.—’s son, Harpo, marries Sophia, Celie comes into contact with
another woman. Celie doesn’t really understand Sophia because she is a 15
strong-willed, independent person who actually stands up to men. Thus, the
reader senses the weakness in Celie’s character when she advised Harpo to beat
Sophia. Celie has been abused her whole life, and to her, being beaten is part of
being a woman. She is totally numb to abuse; she even imagines herself to be
a tree when being abused. This is her way to escape and void all feelings, to be 20
indifferent to the pain.
Naturally, she is envious of Sophia’s strength and character, and so she
feels a beating would do Sophia good. When Sophia discovers that it was Celie
who told Harpo to beat her, she is both furious and hurt. Sophia confronts Celie,
and this a pivotal point in the novel. Celie realizes that she meant enough to 25
Sophia for her to be upset, which means that Celie has actually affected another
person. The two women quickly mend their relationship and begin a quilt to
symbolize their friendship. This ties into the theme of sisterhood because now
Celie has a friend, and the unity that the two share becomes an amazing force
throughout the novel. 30

Celie’s character undergoes the strongest transformation after meeting

another “sister,” Shug Avery. The circumstances under which Shug and Celie
become friends are incredible, for Shug is Mr.—’s mistress. However, their
unlikely bond is the main cause of Celie’s rebirth. It was Shug who first
expressed appreciation to Celie for helping her get better after a serious illness. No 35
one had ever thanked Celie before, but Shug was so gratified for her care that she
wrote a song for Celie. This small act of appreciation becomes the turning point in
Celie’s life. She now feels she is no longer as numb as a lifeless tree.
Shug’s influence leads Celie to go from being a passive victim to becoming
an assertive, vibrant, independent woman. Shug was the one who makes Mr.— stop 40
beating Celie, as well as the one who found Celie’s lost sister Nettie’s letters which Mr.—
had been hiding. Shug even inspires Celie to begin her own pants-making business,
giving Celie total economic independence and creative freedom. Thus, the theme of
rebirth is emphasized. Walker stresses how the human soul is an unbelievably
powerful force, and how it contains the strength to emerge victorious despite adversity. 45
Shug Avery is also responsible for giving Celie a new spiritual outlook on life.
She explains to Celie that God isn’t necessarily an old, white-bearded man. Shug’s
view is that God is everything and is everywhere. The title becomes significant when
Shug tells Celie that God becomes angry if you walk past the color purple in a field and
don’t notice it. This is a significant step in Celie’s spiritual life because she now doesn’t 50
feel that God is a man who is indifferent and deaf to her prayers. She has renewed her
belief, and the theme of the power of faith is reinforced, for Celie’s faith has remained
strong.
The Color Purple is a perfect example of a work of literature where the character
undergoes a dramatic transformation. Celie changes from a numb, unassertive victim to 55
being an aggressive, creative, vibrant, and independent woman. The unity of her female
confidants and her unending faith allowed her to undergo such a deep transformation.
This essay is within the high-range parameters for the following reasons:
• Presents a clear, strong statement of the essay’s purpose and indication of the organization
KEY IDEA of the essay.
• Presents clear, appropriate information.
• Incorporates connected meaning with every point made.
• Thoroughly presents Celie’s character.
• Provides pivotal moments and details to illustrate the prompt.
• Uses good connective tissue.
• Organization allows presentation to build chronologically and from the merely physical
to the metaphysical.
• Indicates both a perceptive reading of the novel and an understanding of some of its
complexities.
• Demonstrates mature manipulation of language.
This is a solid high-range essay which clearly indicates a reader who not only “got” the
novel but also “got” the tasks demanded of the prompt.

Student Essay B
Set in the malevolent, shadowy era of the Cold War, Ian
McEwan’s The Innocent centers on a fervent young Brit working for
a covert anti-Soviet intelligence agency. His youthful good nature,
manners, and naiveté are what make Leonard Marnham “the
innocent.” The new threat constantly slithering around the corner is 5
the dreaded red snake of Communism, ensnaring and asphyxiating
the world with its wicked omnipotence. Leonard travails scrupulously
and surreptitiously for its willful opposition and relies on his innocence
throughout his occupation and life. When suddenly thrust into a
spiral of new and exciting, but vaguely frightening experiences exploring 10
the life he never lived, something immense in Leonard changes. This
flagrant transformation is momentous and permanent.
The most vital characterization of the protagonist is his underlying
innocence, which is repeatedly and implicitly emphasized throughout the
novel. The reader and revolving characters are drawn into Leonard’s 15
ingenuousness until he chooses to walk a path unknown to him which
results in his surrendering his innocence. This transformation begins
when Leonard becomes enraptured by the discovery of his own sexuality.
He is an innocent in the purest sense of the word. Maria, his young,
German lover, uncorks a surge of forceful new sensations and emotions 20
in Leonard. This unleashing of unbridled passion allows him to give in to
urges that ultimately push him over the edge. His exploration of sexuality
brings new found masculinity and confidence. Leonard officially enters
manhood and undergoes a tremendous transformation of temperament.
His behavior is increasingly unrestrained. At a crucial turning point, 25
Leonard willfully imposes himself on Maria, ignoring all cries of distress
of his lover. It is then that the reader becomes fully aware of Leonard’s
grave potential to give rein to his basest nature.
Following this traumatic incident with Maria, Leonard distinctly
apologizes and makes a conscious effort to reform himself. The two scarred 30
companions reconcile only superficially and suffer perceptible losses of
intimacy. The plot is complicated by the appearance of Maria’s inebriated
and disgruntled husband who attacks Leonard. After a crushing blow to
his genitals, Leonard unleashes a shocking display of malice and murders
and mutilates his assailant. 35
When Leonard callously forces himself onto Maria, we see his
capability for harsh insensitivity, resulting in severe damage. But when
Leonard slaughters Otto, and severs all his limbs, in order to fit the body
into a suitcase, with the intent of eschewing penalty, it is all but too clear
that Leonard Marnham is no longer the shy, unripe innocent the author 40
introduced us to.

In reference to Leonard’s inhumanity the author uses irony to convey

the idea that human actions during this time period were largely inhumane.
McEwan’s assessment of humanity and essentially his thesis by writing
The Innocent is that man is inherently evil, requiring only the slightest 45
corruption (such as Leonard’s entrance into manhood and the decadence
exemplified by society) to unveil his intrinsic iniquity.
This essay is within the midrange parameters for the following reasons:
• Clearly understands the prompt and has a clear voice.
• Uses specifics from the text to illustrate points (paragraphs 2 and 3).
• Organization builds to a strong conclusion.
• Adheres to topic well.
• Demonstrates a willingness to stretch with regard to syntax and diction.
• Exhibits instances of awkward word choice (lines 7, 12, 37).
• Exhibits instances of awkward sentences (lines 9–11, 25–27).
• Does not provide a balanced characterization of Leonard.
• Does not provide proof of Leonard’s innocence other than his sexuality.
• Veers dangerously close to plot summary.
It is obvious that this is an eager, intelligent, and thoughtful reader and writer. However,
the results of the transformation on Leonard are not as fully developed as the prompt
demands. It is only at the end of the essay that the transformation is connected to theme.

Appendixes
Suggesting Reading Guide

General Bibliography
Glossary
Websites
AP English Literature 2018_BM_213-236.indd 213 30/06/17 10:09 am


SUGGESTED READING GUIDE
As you probably know, a standard curriculum for AP Lit does not exist. Instead, teachers
are urged to present material that will be appropriately challenging and enlightening while
providing the opportunity for literary analysis. There are several ways of organizing the
literature you study in an AP Literature and Composition course. Regardless of specifics, a
broad selection of literature, covering many centuries and many styles, should be offered.
Be confident that your teacher and course will meet the needs of the AP requirements.
We’ve developed several ways for you to reflect upon your own background. Once
you have a clear overview of what you do know, you will be able to assess your particular
strengths and weaknesses. You will also see the interrelationships of the literature you’ve
studied and the commonalities and differences you will draw on to write your essays.
One approach to organizing your studies is chronological. This is the traditional survey
of literature from “Beowulf to Virginia Woolf to Thomas Wolfe.” This broad-based study
provides you with many samples from different time periods and offers a context grounded
in history. Another approach is the thematic one. Works are grouped by common ideas and
are variations on a theme through time and genre. Often, it is obvious that certain works
share a common sensibility. Generally, these characteristics are classified together as a liter-
ary movement. By connecting form and function, this type of reflection will broaden your
understanding and analysis.
What follows is a bibliographic overview of literary movements.
Classicism
The classical writer generally exhibits or is concerned with the following:
KEY IDEA
• Universality
• Noble ideas
• Dignified language
• Restraint
• Clarity
• Objectivity
• The importance of structure
• An edifying purpose
Suggested classical works and authors:

Homer The Iliad, The Odyssey
The Bible “Genesis,” “Exodus,” “Matthew”
Sophocles Antigone, Oedipus Rex
Euripides Medea
Aristotle “On the Nature of Tragedy”
Plato “The Apology,” “The Allegory of the Cave”
❮ 215

216 ❯ Suggested Reading Guide
Molière Tartuffe, The Misanthrope

Racine Phaedra
John Milton “L’Allegro,” “Il Penseroso,” “On His Blindness,” Paradise Lost (excerpts)
Alexander Pope “An Essay on Man,” “An Essay on Criticism,” “The Rape of the Lock”
Jonathan Swift Gulliver’s Travels
Voltaire Candide
Make a list of classical works you have read: Cite title, author, and major thoughts about
each.
Realism
The realistic writer generally exhibits or is concerned with the following:
KEY IDEA
• Truth and actuality
• Detail
• Character portrayal
• Psychology
• Objectivity
• Lack of sentimentality
Suggested realistic works and authors:
Chaucer The Canterbury Tales
Fyodor Dostoyevsky Crime and Punishment
Leo Tolstoy Anna Karenina
Anton Chekhov The Cherry Orchard
Ernest Hemingway The Sun Also Rises
Henrik Ibsen Hedda Gabler, A Doll’s House
Make a list of realistic works you have read: Cite title, author, and major thoughts about
each.

Suggested Reading Guide ❮ 217
Romanticism
The romantic writer generally exhibits or is concerned with the following:
KEY IDEA
• Emotions and passion
• Imagination and wonder
• The variety and power of Nature
• The individual
• Freedom and revolution
• Dreams and idealism
• Mystery and the supernatural
• Experimentation with form
• Spontaneity
Suggested romantic prose works and authors:
Anonymous Beowulf
Bocaccio The Decameron
Rabelais Gargantua
Cervantes Don Quixote
Shakespeare Hamlet, King Lear
Goethe Faust
Hawthorne The Scarlet Letter
Bronte Jane Eyre
Hugo Les Miserables
Suggested romantic poetic works and authors:
Multiple authors The Ballads—Scottish and British
Shakespeare Sonnets
Robert Burns “To a Mouse,” “John Anderson, My Jo,” “A Red, Red,
Rose”
William Blake “A Poison Tree,” “The Sick Rose,” “London,” “The Chimney
Sweep”
William Wordsworth “Tintern Abbey,” “My Heart Leaps Up,” “London, 1802,”
“The World Is Too Much With Us,” “I Wandered Lonely as
a Cloud,” “Ode on Intimations of Immortality,” Preface to
the Lyrical Ballads
Samuel Taylor Coleridge “Kubla Khan,” “The Frost at Midnight,” “The Rime of the
Ancient Mariner”
Lord Byron “Sonnet on Chillon,” “When We Two Parted,” “Maid of
Athens,” “The Isles of Greece,” “She Walks in Beauty”
Percy Bysshe Shelley “Ode to the West Wind,” “To a Skylark,” “Ozymandias”
John Keats “On First Looking Into Chapman’s Homer,” “Ode to a
Nightingale,” “Ode on a Grecian Urn,” “When I Have Fears
That I May Cease to Be”
Alfred, Lord Tennyson “Ulysses”
Robert Browning “My Last Duchess,” “Pippa’s Song,” “Soliloquy of the Spanish
Cloister”

Make a list of romantic works you have read: Cite title, author, and major thoughts about
each.
Impressionism
The impressionist writer generally exhibits or is concerned with the following:
KEY IDEA
• Appeals to the senses
• Mood and effects
• Vagueness and ambiguity
• Momentary insights
• Impressions of setting, plot, and character
• Emphasis on color and light
• Emotions and feelings
• Sensations into words
Suggested impressionistic works and authors:
Henry James The American
Joseph Conrad Heart of Darkness, The Secret Sharer, “The Lagoon”
Katherine Mansfield “Bliss”
Kate Chopin “Story of an Hour,” The Awakening
Make a list of impressionistic works you have read: Cite title, author, and major thoughts
about each.
Expressionism
The expressionist writer generally exhibits or is concerned with the following:
KEY IDEA
• Subjective responses
• Inner reality
• Abstract and mystical ideas

Suggested Reading Guide ❮ 219
• Symbols and masks

• Man and society in chaos
• Creation of new worlds
Suggested expressionistic works and authors:
James Joyce Dubliners
Eugene O’Neill Desire Under the Elms, The Hairy Ape, The Iceman Cometh
T. S. Eliot “The Hollow Men,” “The Love Song of J. Alfred Prufrock”
Franz Kafka Metamorphosis, The Trial
Make a list of expressionistic works you have read: Cite title, author, and major thoughts
about each.
Naturalism
The naturalist writer generally exhibits or is concerned with the following:
KEY IDEA
• Realism to its extreme
• Fact and detail
• Social awareness and reform
• A broad spectrum of subjects, both positive and negative
• Man as animal in society
• Scientific impartiality
Suggested naturalistic works and authors:
Tennessee Williams A Streetcar Named Desire, Cat on a Hot Tin Roof
Frank Norris The Octopus
Stephen Crane Maggie, A Girl of the Streets
Upton Sinclair The Jungle
Make a list of naturalistic works you have read: Cite title, author, and major thoughts
about each.

A note about literary movements: These are the movements you will find emphasized in
KEY IDEA the Western canon of literature. However, be aware that there are other literary movements
that are currently recognized. Among them are the:
• Symbolist—an outgrowth of romanticism
• Existentialist—concern with man’s alienation
• Absurdist—takes existentialism one step further into the realm of fractured reality
• Magical realism—modern genre that moves between the objective world and the world
of fantasy

GENERAL BIBLIOGRAPHY
Recommended Poets
In addition to those referred to throughout this book, the following poets are representative
of the poets you will encounter on the exam.
Matthew Arnold Seamus Heaney

W. H. Auden Galway Kinnell
Elizabeth Bishop Maxine Kumin
Gwendolyn Brooks Pablo Neruda
Billy Collins Sharon Olds
e. e. cummings Wilfred Owen
T. S. Eliot Linda Pastan
Lawrence Ferlinghetti Edna St. Vincent Millay
Robert Francis May Swenson
Robert Graves Dylan Thomas
Donald Hall
Recommended Authors
Chinua Achebe: Things Fall Apart
Aeschylus: Oresteia
Margaret Atwood: The Handmaid’s Tale
Jane Austen: Pride and Prejudice, Sense and Sensibility
James Baldwin: Go Tell It on the Mountain
Saul Bellow: The Adventures of Augie March
Charlotte Bronte: Jane Eyre
Emily Bronte: Wuthering Heights
Albert Camus: The Stranger
Willa Cather: My Antonia, One of Ours, Death Comes to the Archbishop
Anton Chekhov: The Cherry Orchard
Kate Chopin: The Awakening
Sandra Cisneros: The House on Mango Street
Joseph Conrad: Heart of Darkness, Lord Jim, The Secret Sharer
Stephen Crane: The Red Badge of Courage
Don Delillo: White Noise
Charles Dickens: Great Expectations, A Tale of Two Cities
Isak Dinesen: Out of Africa
Fyodor Dostoyevsky: Crime and Punishment
Theodore Dreiser: An American Tragedy, Sister Carrie
❮ 221

222 ❯ General Bibliography
George Eliot: Silas Marner, Middlemarch

Ralph Ellison: Invisible Man
Euripides: Medea
William Faulkner: As I Lay Dying, The Sound and the Fury
Henry Fielding: Tom Jones
F. Scott Fitzgerald: The Great Gatsby
Gustave Flaubert: Madame Bovary
E. M. Forster: A Passage to India
Thomas Hardy: Jude the Obscure, Tess of the D’Urbervilles
Nathaniel Hawthorne: The Scarlet Letter
Joseph Heller: Catch-22
Ernest Hemingway: The Sun Also Rises
Homer: The Iliad, The Odyssey
Khaled Hosseini: The Kite Runner
Zora Neale Hurston: Their Eyes Were Watching God
Aldous Huxley: Brave New World
Henrik Ibsen: A Doll’s House, Ghosts, Hedda Gabler
Kazuo Ishiguro: The Remains of the Day
Henry James: The Turn of the Screw, The American
James Joyce: A Portrait of the Artist as a Young Man, Dubliners
Franz Kafka: Metamorphosis, The Trial
Ken Kesey: One Flew Over the Cuckoo’s Nest
Maxine Hong Kingston: The Woman Warrior
D. H. Lawrence: Sons and Lovers
Gabriel García Márquez: One Hundred Years of Solitude
Herman Melville: Moby-Dick, Billy Budd
Arthur Miller: Death of a Salesman, The Crucible
Toni Morrison: Beloved, Song of Solomon
V. S. Naipaul: A Bend in the River
Tim O’Brien: The Things They Carried
Eugene O’Neill: Desire Under the Elms, Long Day’s Journey into Night
George Orwell: 1984
Alan Paton: Cry, the Beloved Country
Jean Rhys: Wide Sargasso Sea
Jean Paul Sartre: No Exit, Nausea
William Shakespeare: Hamlet, King Lear, Macbeth, Othello, Twelfth Night
George Bernard Shaw: Major Barbara, Man and Superman, Pygmalion
Mary Shelley: Frankenstein
Sophocles: Antigone, Oedipus Rex
John Steinbeck: The Grapes of Wrath, Of Mice and Men, Cannery Row
Tom Stoppard: Rosencrantz and Guildenstern Are Dead
Jonathan Swift: Gulliver’s Travels
Amy Tan: The Kitchen God’s Wife
Leo Tolstoy: Anna Karenina
Mark Twain: Adventures of Huckleberry Finn
John Updike: Rabbit Run
Voltaire: Candide
Kurt Vonnegut: Slaughterhouse-Five
Alice Walker: The Color Purple

General Bibliography ❮ 223
Edith Wharton: Ethan Frome, The House of Mirth

Oscar Wilde: The Importance of Being Earnest
Thornton Wilder: Our Town
Tennessee Williams: A Streetcar Named Desire, The Glass Menagerie
Virginia Woolf: To the Lighthouse
Richard Wright: Native Son


GLOSSARY
allegory A work that functions on a symbolic level. conflict A clash between opposing forces in a liter-
alliteration The repetition of initial consonant ary work, such as man vs. man; man vs. nature;
sounds, such as “Peter Piper picked a peck of man vs. God; man vs. self.
pickled peppers.” connotation The interpretive level of a word based
allusion A reference contained in a work. on its associated images rather than its literal
anapest A metrical pattern of two unaccented syl- meaning.
lables followed by an accented syllable (˘ ˘ ´). convention A traditional aspect of a literary work,
antagonist The force or character that opposes the such as a soliloquy in a Shakespearean play or a
main character, the protagonist. tragic hero in a Greek tragedy.
annotation To make personal notes on a text in couplet Two lines of rhyming poetry; often used by
order to get a better understanding of the mate- Shakespeare to conclude a scene or an important
rial. These notes can include questions, an argu- passage.
ment with the author acknowledging a good dactyl A foot of poetry consisting of a stressed syl-
point, a clarification of an idea, theme, etc. lable followed by two unstressed syllables, (´ ˘ ˘).
apostrophe Direct address in poetry. Yeats’s line “Be denotation The literal or dictionary meaning of a
with me Beauty, for the fire is dying” is a good word.
example. denouement The conclusion or tying up of loose
aside Words spoken by an actor intended to be ends in a literary work; the resolution of the con-
heard by the audience but not by other characters flict and plot.
on stage. deus ex machina A Greek invention, literally “the
aubade A love poem set at dawn which bids fare- god from the machine” who appears at the last
well to the beloved. moment and resolves the loose ends of a play.
ballad A simple narrative poem, often incorporat- Today, the term refers to anyone, usually of some
ing dialogue that is written in quatrains, generally stature, who untangles, resolves, or reveals the
with a rhyme scheme of a b c d. key to the plot of a work. See the conclusion of
blank verse Unrhymed iambic pentameter. Most of Euripides’s Medea for an example or the sheriff at
Shakespeare’s plays are in this form. the end of Desire Under the Elms by O’Neill.
cacophony Harsh and discordant sounds in a line diction The author’s choice of words.
or passage of a literary work. dramatic monologue A type of poem that presents
caesura A break or pause within a line of poetry a conversation between a speaker and an implied
indicated by punctuation and used to emphasize listener. Browning’s “My Last Duchess” is a per-
meaning. fect example.
catharsis According to Aristotle, the release of emo- elegy A poem that laments the dead or a loss. “Elegy
tion that the audience of a tragedy experiences. for Jane” by Roethke is a specific example. Gray’s
character One who carries out the action of the plot “Elegy in a Country Church Yard” is a general
in literature. Major, minor, static, and dynamic example.
are types of characters. enjambment A technique in poetry that involves
climax The turning point of action or character in the running on of a line or stanza. It enables the
a literary work, usually the highest moment of poem to move and to develop coherence as well
tension. as directing the reader with regard to form and
comic relief The inclusion of a humorous character meaning. Walt Whitman uses this continually.
or scene to contrast with the tragic elements of a epic A lengthy, elevated poem that celebrates the
work, thereby intensifying the next tragic event. exploits of a hero. Beowulf is a prime example.
❮ 225

226 ❯ Glossary
epigram A brief witty poem. Pope often utilizes this and experience their reality differently from what
form for satiric commentary. we term the objective world. Writers who are
euphony The pleasant, mellifluous presentation of frequently placed in this category include Gabriel
sounds in a literary work. García Márquez, Günter Grass, and Isabel A
exposition Background information presented in a llende.
literary work. metaphor A direct comparison between dissimilar
fable A simple, symbolic story, usually employing things. “Your eyes are stars” is an example.
animals as characters. Aesop and La Fontaine are metaphysical poetry Refers to the work of poets
authors who excel at this form. like John Donne who explore highly complex,
figurative language The body of devices that enables philosophical ideas through extended metaphors
the writer to operate on levels other than the literal and paradox.
one. It includes metaphor, simile, symbol, motif, meter A pattern of beats in poetry. (Answers to
hyperbole, and others discussed in Chapter 8. questions in poetry review: 5, 3, 2, 2, 4)
flashback A device that enables a writer to refer to metonymy A figure of speech in which a repre-
past thoughts, events, episodes. sentative term is used for a larger idea. (“The pen
foot A metrical unit in poetry; a syllabic measure of is mightier than the sword.”)
a line: iamb, trochee, anapest, dactyl, and spon- monologue A speech given by one character.
dee. (Hamlet’s “To be or not to be . . . ”)
foreshadowing Hints of future events in a literary motif The repetition or variations of an image or
work. idea in a work which is used to develop theme or
form The shape or structure of a literary work. characters.
free verse Poetry without a defined form, meter, or narrative poem A poem that tells a story.
rhyme scheme. narrator The speaker of a literary work.
hyperbole Extreme exaggeration. In “My Love is octave An eight-line stanza, usually combined with
Like a Red, Red Rose,” Burns speaks of loving a sestet in a Petrarchan sonnet.
“until all the seas run dry.” ode A formal, lengthy poem that celebrates a par-
iamb A metrical foot consisting of an unaccented ticular subject.
syllable followed by an accented one; the most onomatopoeia Words that sound like the sound
common poetic foot in the English language, (˘ ´). they represent (hiss, gurgle, bang).
idyll A type of lyric poem which extols the virtues oxymoron An image of contradictory terms (bitter-
of an ideal place or time. sweet, pretty ugly, giant economy size).
image A verbal approximation of a sensory impres- parable A story that operates on more than one
sion, concept, or emotion. level and usually teaches a moral lesson. (The Pearl
imagery The total effect of related sensory images by John Steinbeck is a fine example. See Allegory.)
in a work of literature. paradox A set of seemingly contradictory elements
impressionism Writing that reflects a personal which nevertheless reflects an underlying truth.
image of a character, event, or concept. The Secret For example, in Shakespeare’s Much Ado About
Sharer is a fine example. Nothing, the Friar says to Hero, “Come, Lady, die
irony An unexpected twist or contrast between what to live.”
happens and what was intended or expected to parallel plot A secondary story line that mimics
happen. It involves dialogue and situation, and it and reinforces the main plot. (Hamlet loses his
can be intentional or unplanned. Dramatic irony father, as does Ophelia.)
centers around the ignorance of those involved parody A comic imitation of a work that ridicules
while the audience is aware of the circumstance. the original.
lyric poetry A type of poetry characterized by emo- pathos The aspects of a literary work that elicit pity
tion, personal feelings, and brevity; a large and from the audience.
inclusive category of poetry that exhibits rhyme, personification The assigning of human qualities
meter, and reflective thought. to inanimate objects or concepts. (Wordsworth
magical realism A type of literature that explores personifies “the sea that bares her bosom to the
narratives by and about characters who inhabit moon” in the poem “London, 1802.”)

Glossary ❮ 227
plot A sequence of events in a literary work. stage directions The specific instructions a play-
point of view The method of narration in a work. wright includes concerning sets, characterization,
protagonist The hero or main character of a literary delivery, etc. (See Hedda Gabler by Ibsen.)
work, the character the audience sympathizes with. stanza A unit of a poem, similar in rhyme, meter,
quatrain A four-line stanza. and length to other units in the poem.
resolution The denouement of a literary work. structure The organization and form of a work.
rhetorical question A question that does not expect style The unique way an author presents his ideas.
an explicit answer. It is used to pose an idea to be Diction, syntax, imagery, structure, and content
considered by the speaker or audience. all contribute to a particular style.
rhyme/rime The duplication of final syllable sounds subplot A secondary plot that explores ideas differ-
in two or more lines. ent from the main storyline. (In Hamlet, the main
rhyme scheme The annotation of the pattern of storyline has Hamlet avenging the death of his
the rhyme. father. The subplot has Hamlet dealing with his
rhythm The repetitive pattern of beats in poetry. love for Ophelia.)
romanticism A style or movement of literature subtext Implied meaning of a work or section of a
that has as its foundation an interest in freedom, work.
adventure, idealism, and escape. symbol Something in a literary work that stands
satire A mode of writing based on ridicule, which for something else. (Plato has the light of the sun
criticizes the foibles and follies of society without symbolize truth in “The Allegory of the Cave.”)
necessarily offering a solution. (Jonathan Swift’s synecdoche A figure of speech that utilizes a part as
Gulliver’s Travels is a great satire that exposes man- representative of the whole. (“All hands on deck”
kind’s condition.) is an example.)
scansion Analysis of a poem’s rhyme and meter. syntax The grammatical structure of prose and
sestet A six-line stanza, usually paired with an poetry.
octave to form a Petrarchan sonnet. tercet A three-line stanza.
sestina A highly structured poetic form of 39 lines, theme The underlying ideas that the author illus-
written in iambic pentameter. It depends upon trates through characterization, motifs, language,
the repetition of six words from the first stanza in plot, etc.
each of six stanzas. tone The author’s attitude toward his subject.
setting The time and place of a literary work. tragic hero According to Aristotle, a basically good
simile An indirect comparison that uses the word, person of noble birth or exalted position who
“like” or “as” to link the differing items in the has a fatal flaw or commits an error in judgment
comparison. (“Your eyes are like stars.”) which leads to his downfall. The tragic hero must
soliloquy A speech in a play which is used to reveal have a moment of realization and live and suffer.
the character’s inner thoughts to the audience. trochee A single metrical foot consisting of one
(Hamlet’s “To be or not to be . . . ” is one of the accented (stressed/long) syllable followed by one
most famous soliloquies in literature.) unaccented (unstressed/short) syllable (´ ˘).
sonnet A 14-line poem with a prescribed rhyme understatement The opposite of exaggeration. It is
scheme in iambic pentameter. (See Chapter 9 a technique for developing irony and/or humor
for a comparison between Shakespearean and where one writes or says less than intended.
Petrarchan sonnets.) villanelle A highly structured poetic form that com-
spondee A poetic foot consisting of two accented prises six stanzas: five tercets and a quatrain. The
syllables (´ ´). poem repeats the first and third lines throughout.


WEBSITES
There are literally thousands of sites on the Internet that are in some way related to the
study of college-level English. We are not attempting to give you a comprehensive list of all
of these websites. What we are going to do is to provide you with a list that is most relevant
to your preparation and review for the AP Literature and Composition exam. It is up to
you to log on to a site that may be of interest to you and to see for yourself just what it can
offer and whether or not it will be of specific benefit to you. Don’t forget that you have a
dedicated AP website from McGraw-Hill that can be of great help to you as you work your
way through the AP English Literature course and as you prepare for the exam in May. Go
to The Cross-Platform Prep Course: www.xplatform.mhprofessional.com and enter your
access code printed on the back cover.
Note: These websites were available and online at the time this book was revised. Please
be aware that we cannot guarantee that a site you choose to explore will be operating
when you go to that URL.
Because this is an Advanced Placement exam for which you are preparing, why not go to
the source as your first choice? The College Board’s AP site is called AP Central:
• http://www.collegeboard.com/apc
Related to British Literature:

• Romanticism: http://www.uh.edu/engines/romanticism/poets.html
• British history: http://www.bbc.co.uk/history
• Study guide: http://www.studyguide.org/brit_lit_timeline.htm
• Ultimate Shakespeare site: http://playshakespeare.com
Related to American Literature:

• Authors, timelines, literary movements: http://public.wsu.edu/~campbelld/amlit/sites
.htm
• Literature: Voice of the Shuttle: http://vos.ucsb.edu
Of General Interest:
• Purdue Online Writing Lab: http://owl.english.purdue.edu
• For links to other websites for English literature: http://www.kn.att.com/wired/fil/
pages/listaplitma.html
• For terms, exercises, tips, and rules from a primate with attitude, go to Grammar Bytes:
http://chompchomp.com
• For help with rhetorical and literary terms, there are three useful sites: http://mcl.as.uky
.edu/glossary-rhetorical-terms, http://andromeda.rutgers.edu/~jlynch/Terms/, and
http://humanities.byu.edu/rhetoric/
❮ 229

230 ❯ Websites
• For access to the world of arts and letters, including newspapers, literary magazines, and
blogs: http://artsandlettersdaily.com
• To download free e-books: www.bartleby.com
• For a directory to free downloadable e-books as well as articles, reviews, and comments:
www.e-booksdirectory.com
• For WebNotes, a useful tool that allows you to compile and organize information from
multiple Web pages and share findings: www.webnotes.net
Each of these websites will lead you to many more. You will have to take the time to
explore the various sites and to make your own evaluation as to their value to you and your
expectations.
We suggest you use your favorite Web server or search engine and type in ADVANCED
PLACEMENT ENGLISH (AP), or ADVANCED PLACEMENT (AP) LITER ATURE.
(Our favorite search engine is www.google.com.) From that point on, you can “surf the net”
for those sites that suit your particular needs. You will have to take the time to explore these
various domains and to make your own evaluation of their value to you and your expecta-
tions. Perhaps, you might even decide to set up your own AP Lit website or chat room.

NOTES

NOTES

NOTES

NOTES

NOTES

NOTES
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5 Steps To A 5 AP English

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CROSS-PLATFORM

PREP COURSE Book • Online • Mobile

To Access Your Online Course:

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STEP 1 Set Up Your Study Program

STEP 2 Determine Your Test Readiness

STEP 3 Develop Strategies for Success

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6 The Poetry Essay 77

STEP 4 Review the Knowledge You Need to Score High

STEP 5 Build Your Test-Taking Confidence

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Sample Student Essays 174

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“The Flowers” from IN LOVE & TROUBLE: STORIES OF BLACK WOMEN,

“Snake,” from THE COMPLETE POEMS OF D. H. LAWRENCE by D. H. Lawrence,

“The Writer” from THE MIND-HEALER, copyright © 1971 by Richard Wilbur.

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Why This Book?

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Organization of the Book

Introduction to the Five-Step Preparation Program

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Step 1: Set Up Your Study Program

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Step 3: Develop Strategies for Success

Step 4: Review the Knowledge You Need to Score High

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KEY IDEA Key Ideas

Background on the Advanced Placement Exam

What Is the Advanced Placement Program?

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Who Writes the AP Literature Exam?

Reasons for Taking the Advanced Placement Exam